Готові списки джерел за темами / Giovanni bonifacio

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Добірка наукової літератури з теми "Giovanni bonifacio"

Автор: Grafiati
Опубліковано: 11 березня 2023

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Статті в журналах з теми "Giovanni bonifacio"

1

Arcangeli, Alessandro. "Review of Gazzola (2018): L’Arte de’ cenni di Giovanni Bonifacio." Gesture 18, no. 1 (December 31, 2019): 110–13. http://dx.doi.org/10.1075/gest.00035.arc.

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2

Dimova, Temenuzhka. "« Dextrarum junctio » ou le sceau des âmes unies : usages d’un geste dans la France des XVIIe et XVIIIe siècles." Source(s) – Arts, Civilisation et Histoire de l’Europe, no. 5 (October 20, 2022): 75–92. http://dx.doi.org/10.57086/sources.376.

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“Dextrarum junctio” ou le sceau des âmes unies : usages d’un geste dans la France des XVIIe et XVIIIe siècles — La jonction des esprits lors des serments de fidélité, de paix et d’alliance se traduit dans le langage iconographique par la réunion des mains droites. Les valeurs juridiques, rituelles mais aussi affectives de la dextrarum junctio, analysées par des théoriciens du langage corporel comme Giovanni Bonifacio, Juan Caramuel, John Bulwer et Alphonse Costadau, se déploient au sein de la peinture française des XVIIe et XVIIIe siècles selon des formules innovantes, et interagissent avec d’autres repères de gestique et d’expression. Ainsi la formule traditionnelle – exprimant l’idéal de l’union des âmes, la consolidation des rapports humains par le lien physique, la fiabilité supposée du toucher – va-t-elle s’enrichir de significations complexes, voire ambivalentes, au gré des contextes et du temps : de quelle nature est exactement l’intimité des mains, dans tels accords diplomatiques subtilement déséquilibrés, dans tels Mariages de la Vierge, portraits de couples ou encore scènes de galanterie ?
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3

Sordyl, Krzysztof. "Powstanie i rozwój Kościoła nowacjańskiego." Vox Patrum 55 (July 15, 2010): 553–67. http://dx.doi.org/10.31743/vp.4356.

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Nel periodo iniziale dello sviluppo dello scisma romano di Novaziano niente lasciava prevedere che potesse minacciare l’intera Chiesa. In quel periodo Novaziano aveva mandato in Africa, Alessandria e Antiochia i suoi emissari. Grazie alla loro attività la comunità dei novaziani cresceva in potenza, e sviluppando in modo progressivo la propria dottrina è diventato un rivale significativo della Chiesa cattolica. La Chiesa di Novaziano si è diffusa in Gallia, nei terreni dell’Italia settentrionale (Milano), a Roma, in Africa, Egitto e Siria. In Oriente si è lottato a lungo contro le sue regole e abitudini. Anche nell’Asia minore i novaziani erano numerosi. Socrate fornisce molte informazioni su di loro. Racconta dettagliatamente la storia della comunità novaziana a Costantinopoli: descrive la disposizione delle loro chiese nella città e presenta la successione dei vescovi novaziani fino alla sua epoca. Eppure non vi è modo di stabilire, anche approssimativamente, il numero di singole comunità. L’ottavo canone del concilio di Nicea presumeva che in alcuni posti la chiesa di Novaziano avesse attratto la totalità della popolazione cristiana. Le informazioni sul presbitero romano e la sua chiesa non sono precise. I trattati, che si sono conservati, mostrano piuttosto la polemica teologica che la dimensione storica. La legge civile del 326 ha creato una situazione favorevole per gli appartenenti alla chiesa di Novaziano, riconoscendogli il diritto di possedere i luoghi di culto e i cimiteri. Le comunità novaziane in Oriente si sono trovate al centro della reazione antiniceana, le cui conseguenze avevano il carattere non solo teologico, ma anche esistenziale. Socrate riporta i momenti drammatici vissuti a Costantinopoli dai cattolici e dai novaziani che non volevano accettare il credo dei seguaci degli homoios. Nella prima metà del V secolo a Roma, il papa Innocente I, Bonifacio I e Celestino I chiudono le chiese dei novaziani. Cirillo invece combatteva i novaziani ad Alessandria. Socrate ricorda che a Costantinopoli, dove sicuramente era più difficile scordarsi delle sofferenze comuni, la situazione della comunità novaziana è rimasta buona fino all’ascesa al trono di Nestorio (428). La collaborazione della Chiesa e dello stato porta gradualmente alla sparizione, prima nelle grandi città, a poi addirittura in campagna, delle comunità organizzate, e finalmente degli ultimi rappresentanti della setta. Probabilmente gli ultimi novaziani asiatici collaboravano con i pauliciani. In Oriente dalla metà dell’VIII secolo sparisce la questione dei novaziani come eretici viventi. Gli ultimi cenni risalgono ai tempi di Giovanni di Damasco e Eulogio di Alessandria. In Occidente erano spariti già da molto prima: non se ne trova quasi nessuna informazione già dalla metà del V secolo. Secondo alcuni ricercatori le idee propagate dalla chiesa di Novaziano hanno influito sui bogomilisti, e anche sui catari dell’Occidente.
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Saunders, Steven. "Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, Bonifazio Graziani, and: Masses by Domenico Scorpione, Lorenzo Penna, Giovanni Paolo Colonna, and: Masses by Pietro Degli Antoni and Giovanni Battista Bassani (review)." Notes 60, no. 1 (2003): 277–78. http://dx.doi.org/10.1353/not.2003.0129.

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5

Bergstein, Mary. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44, no. 4 (1991): 673–719. http://dx.doi.org/10.2307/2862484.

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On the Feastday of the Nativity of the Virgin, September 8, 1296, the papal legate of Boniface VIII, Pietro Valeriano di Piperno, blessed the rebuilding of the church of S. Reparata in Florence. In the ceremonial presence of the podestà, the Standard-Bearer of Justice, and the priors of the Signoria, he named the new cathedral “Santa Maria del Fiore.” Arnolfo di Cambio was made chief architect in charge of the renewal; and it was he who began a program of monumental sculpture devoted to the life of the Virgin (fig. 1). Giovanni Villani, who recorded the benediction ceremony in his chronicle, admitted that notwithstanding the rededication of the church to the Virgin and the invention of the poetic name “Santa Maria del Fiore,” most Florentines continued to call the cathedral S. Reparata.
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6

Gasparri, Maria Luisa, Jana De Boniface, Oreste Davide Gentilini, Orit Kaidar-Person, Philip Poortmans, and Thorsten Kuehn. "Abstract P1-01-16: Perspectives on axillary management after primary systemic treatment: An international EUBREAST survey." Cancer Research 82, no. 4_Supplement (February 15, 2022): P1–01–16—P1–01–16. http://dx.doi.org/10.1158/1538-7445.sabcs21-p1-01-16.

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Abstract Background: Consensus on the axillary management in cN+ breast cancer patients whoconvert to ycN0 after primary systemic treatment (PST) is still lacking. A surveywas conducted to investigate the clinical practice in this setting. Materials and Methods: A web-based survey was developed by a multidisciplinary group on behalfof the European Breast Cancer Research Association of Surgical Trialists (EUBREAST),and distributed to breast surgeons and radiation oncologists via breast cancersocieties. Results: We received 345 replies from 43 countries. A majority of responderssuggest FNA/CNB before treatment (81%) while 19 % perform histologic assessmentonly in selected cases. The preferred surgical approach to the axilla in cN1patients who convert to ycN0 is targeted axillary dissection (TAD) 55%,sentinel lymph node biopsy (SLNB) 21%, axillary lymphadenectomy (ALND) (level1-2) 19%, others 5%. When SLNB is preformed, single and dual tracers are usedin 62% and 38% respectively. No minimumnumber of SLNs is required by 36 % of the surgeons, while 8% and 56% suggest toremove at least 2 or 3 SLNs respectively.For targeted lymph node biopsy (TLNB) or TAD, there is a wide heterogeneitywith regards to localization techniques. In case of multiple suspicious nodes, 65%of the responders declared to mark only one node. 47 % of responders routinelyperform an additional preoperative localization of the TLN. Imaging modalitiesto assess the ycN status are: ultrasound (67%), MRI (21%), other(12%). In caseof ambiguous finding before PST (cN+) ALND was suggested by 23 % only after routine histologicconfirmation of lymph node involvement and by 45 % without. 29% of theresponders perform SLNB/TAD/TLNB without additional axillary surgery 3%suggested different approaches. 66 % of the participants recommended ALND in ycN+ patients only after furtherhistologic confirmation, while 23 % do not perform CNB/FNA. 11 % voted forTAD/SLNB/TLNB in this setting. The decision for post-operative regionalirradiation is influenced by initial nodal lymph node status (61 %) and by acombination of pre- and post- PST assessment (39%). 21% of the responders neverirradiate level I in patients with a ypN>1 status after ALND while 37 % suggestselective use of RT and 42 % favoured RT in all patients. Target volumes forelective nodal irradiation are determined mainly based on ESTRO (61%) and RTOG(32%) guidelines.In case of macrometastatic nodal disease (ycN0ypN+) regional nodeirradiation was suggested by 59 % of the participants regardless of the numberof involved nodes. 37 % suggested RT in patients with more than 3 positive nodes,while 4% would never irradiate. After a positive TAD or SLNB radiationoncologists suggest ALND in 63 % and RT in 37%. Similar results were attainedfor ypN1mi and ypN0(i+). 34 % of the breastsurgeons suggested ALND for patientswith ypN1(mi) status after TAD/SLNB, 31 % favored RT, 23% a combination and 12%suggested omission of further reginal treatment. Remodeling fibrotic scarsrarely affect regional treatment planning. Conclusions: The results of this EUBREAST survey highlightthe wide heterogeneity in the approach to the axilla after PST, corroborate theneed for further clinical research and provide the rationale for the AXSANA(EUBREAST 3) study . Supporting Societies:. American Society of Breast Surgeons (ASBrS). Arbeitsgemeinschaft für gynäkologische Onkologie (AGO). Associazione Nazionale Italiana Senologi Chirurghi (ANISC). Collegio Italiano dei Senologi. Deutsche Gesellschaft für Radioonkologie (DEGRO). Deutsche Gesellschaft für Senologie (DGS). Global Breast Hub. Israel Breast Surgeons Society. Israel Radiation Therapy society. Swiss Society of Senology (SSS). Scuola Italiana di Senologia. Società Polispecialistica Italiana Giovani Chirurghi (SPIGC). Swedish Breast Cancer Group. The Oncoplastic Breast Consortium (OPBC) Citation Format: Maria Luisa Gasparri, Jana De Boniface, Oreste Davide Gentilini, Orit Kaidar-Person, Philip Poortmans, Thorsten Kuehn. Perspectives on axillary management after primary systemic treatment: An international EUBREAST survey [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P1-01-16.
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7

Arcangeli, Alessandro. "La danse et la codification d’un langage des gestes dans l’Arte de’ cenni (1616) de Giovanni Bonifacio." e-Phaïstos IV, no. 1 (April 1, 2015). http://dx.doi.org/10.4000/ephaistos.662.

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Дисертації з теми "Giovanni bonifacio"

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GAZZOLA, Silvia. "L'Arte de' cenni di Giovanni Bonifacio." Doctoral thesis, 2009. http://hdl.handle.net/11562/337462.

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L’Arte de’ cenni di Giovanni Bonifacio.Argomento del presente lavoro è l’Arte de’ cenni di Giovanni Bonifacio (Rovigo1547- Padova 1635), pubblicata a Vicenza presso Francesco Grossi nel 1616,ma redatta verosimilmente negli anni ’90 del XVI secolo. Si tratta di undizionario enciclopedico di 623 pagine, suddiviso in due parti: nella primal’autore analizza il significato di oltre seicento gesti umani, procedendo da capoa piedi; nella seconda, assai più esigua, egli passa a considerare l’incidenza deicenni in varie attività umane (speculative e pratiche). La scelta dell’argomentoha una prima motivazione nella mancanza dell’edizione moderna d’un testo cherappresenta, senza dubbio, un unicum nella storia della gestualità. Altro motivod’interesse è costituito dal tema specifico: al crocevia di numerose discipline, ilgesto è stato reso oggetto - soprattutto a partire dalla seconda metà delNovecento - di definizioni, descrizioni, tassonomie. Psicologia, etnologia,antropologia, storia culturale e (più raramente) storia dell’arte, si son cosìtrovate a fare i conti anche con il testo bonifacesco, nei confronti del quale,tuttavia, l’interesse e le valutazioni hanno avuto modalità ed esiti difformi:l’Arte infatti è stata inclusa ora nella categoria delle curiosità erudite, ora inquella delle inutili fatiche. Solo di recente sembrano essersi avviate nuoveprospettive critiche, che hanno inteso restituire l’opera al contesto di cultura ed’immaginario da cui essa originò, e che in quella si rispecchia. La prima partesi sofferma sugli snodi biografici più significativi relativi a Bonifacio, quindi sullastoria della gestualità e sulla concezione del gesto che traspare dalle pagine deltrattato.La seconda parte indaga invece i rapporti esistenti fra il libro e il mondo delleimmagini (un mondo solo alluso, non presente fisicamente in quelle pagine dalmomento che il libro non è illustrato). La terza parte ospita infine la vicendacritica e la trascrizione moderna e annotata dell’intero testo.
L’arte de’ cenni (Vicenza 1616) is an unusual and original work, written by GiovanniBonifacio, councillor and jurisconsult who lived between XVI and XVII centuries (he wasborn in Rovigo in 1547 and died in Padua in 1635). He was member of several CulturalAcademies (Accademia dei Solleciti and Accademia dei Burchelati in Treviso, AccademiaVeneziana in Venice, Accademia dei Fecondi in Padua, Accademia Filarmonica inVerona). The book is dedicated to the Filarmonica of Verona, that Giovanni Bonifacioentered in 1615, but the text seems to be written more than a decade earlier, probably in1592-1594.L’arte de’ cenni is one of the first dictionary entirely dedicated to gestures, nods, acts,symbolic forms and ways typical of a world which is investigated with a medieval methodand modern curiosity. It resembles courtesy treatises and follows meanwhile contemporarydoctrines such as Phisiognomy (the author knows and disputes Giambattista Della Porta).The text analyses gestures, their significance and cultural implications, as well as theirsymbolic meaning and effect on a social life whose foundation is based on simulation anddissimulation.To recover such rich, though heterogeneous, material is no doubt of historical interest; butin particular it could be of interest to people who work on gestural codes, whether theystudy expression modalities, possible influences on gesture, individual behaviourorganization, or the nature of shared codes ad interpersonal relationships.The present paper consists of three parts: the first one deals with Bonifacio’s biography,the history of gestures and the concept of gesture that emerges from Bonifacio’s treatise;the second part deals with the relationship existing between the book and the world ofimages. The third part explains how the Arte de’ cenni was reviewed by the critics from1616 to the present day, and contain a modern transcription of the full text.
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Книги з теми "Giovanni bonifacio"

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Edwin, Welti Manfred, ed. Dall'umanesimo alla riforma: Giovanni Bernardino Bonifacio, marchese d'Oria, 1517-1557. Brindisi: Amici Della A. de Leo, 1986.

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2

Maria, Andaloro, Maddalo Silvia, and Miglio Massimo 1942-, eds. Frammenti di memoria: Giotto, Roma e Bonifacio VIII. Roma: Istituto storico italiano per il Medio Evo, 2009.

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3

Maria, Andaloro, Maddalo Silvia, and Miglio Massimo, eds. Frammenti di memoria: Giotto, Roma e Bonifacio VIII. Roma: Istituto storico italiano per il Medio Evo, 2009.

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4

Maria, Andaloro, Maddalo Silvia, and Miglio Massimo 1942-, eds. Frammenti di memoria: Giotto, Roma e Bonifacio VIII. Roma: Istituto storico italiano per il Medio Evo, 2009.

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5

Szybowska, Urszula. Oprawy ze średniowiecznych rękopisów muzycznych w księgozbiorze Jana Bernarda Bonifacia =: Medieval musical manuscript leaves as bookbindings in the book-collection of Giovanni Bernardino Bonifacio. Pruszcz Gdański: Wydawn. Jasne, 2011.

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6

Bonifacio, Giovanni Bernardino, marchese d'Oria, 1517-1597. and Polska Akademia Nauk. Biblioteka Gdańska., eds. Die Bibliothek des Giovanni Bernardino Bonifacio, marchese d'Oria, 1517-1597, der Grundstock der Bibliothek Danzig der Polnischen Akademie der Wissenschaften. Bern: P. Lang, 1985.

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7

Schnoebelen, Anne. Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani. Taylor & Francis Group, 2014.

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8

Schnoebelen, Anne. Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani. Taylor & Francis Group, 2014.

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9

Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani (Seventeenth-Century Italian Sacred Music). Routledge, 1998.

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10

Vesper and Compline Music for Four Principal Voices: Agostino Agazzari, Giovanni Francesco Anerio, Giovanni Battista Biondi Da Cesena, Maurizio Cazzati, Antonio Cifra, Chiara Margarita Cozzolani, Bonifazio Graziani, Giovanni Legrenzi, Isabella Leonarda, Tarquinio Merula, Lodovico Viadana. Taylor & Francis Group, 2014.

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Частини книг з теми "Giovanni bonifacio"

1

Jaśniewicz, Aleksandra. "Two humanists in exile: neo-Stoic notions in the Gdańsk portraits of Giovanni Bernardino Bonifacio, Marquis of Oria (1517–1597), and Martin Opitz (1597–1639)." In Arts, Portraits and Representation in the Reformation Era, 73–88. Göttingen: Vandenhoeck & Ruprecht, 2019. http://dx.doi.org/10.13109/9783666552496.73.

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"Credo." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 94–142. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-10.

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"Kyrie." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 145–53. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-12.

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"Gloria." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 154–65. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-13.

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"Credo." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 166–88. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-14.

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"Sanctus." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 189–90. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-15.

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"Agnus Dei." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 191–92. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-16.

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"Kyrie." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 195–206. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-18.

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"Gloria." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 207–25. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-19.

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"Credo." In Masses by Giovanni Andrea Florimi, Giovanni Francesco Mognossa, and Bonifazio Graziani, 226–65. Routledge, 2014. http://dx.doi.org/10.4324/9781315051178-20.

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