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1
Doig, Camino Elizabeth. "Método de Stein." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/96387.
Повний текст джерелаАнотація:
Se da una apreciación global del método de Stein[20} para la aproximación normal. Se empieza con los resultados básicos de las ecuaciones de Stein y luego se demuestran algunos teoremas que ilustran su utilidad
2
Bernauer, Markus. "Heinrich von Stein /." Berlin : W. de Gruyter, 1998. http://catalogue.bnf.fr/ark:/12148/cb369905945.
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3
Warnke, Stephanie. "Stein gegen Stein Architektur und Medien im geteilten Berlin 1950 - 1970." Frankfurt, M. New York, NY Campus-Verl, 2008. http://d-nb.info/992153751/04.
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4
Gürber, Peter. "Das "Stein-Leventhal-Syndrom" /." [S.l : s.n.], 1987. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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5
Porter, David. "Rhetorical, pedagogical, and Jewish : the language practices of Gertrude Stein /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978258.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 296-308). Also available for download via the World Wide Web; free to University of Oregon users.
6
Blizzard, Allison. "Portraits of the 20th century self : an interartistic study of Gertrude Stein's literary portraits and early modernist portraits by Paul Cézanne, Henri Matisse and Pablo Picasso /." Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb392447627.
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7
Pasquier, Marie-Claire. "Gertrude Stein, théâtre et théâtralité." Paris 4, 1991. http://www.theses.fr/1991PA040014.
Повний текст джерелаАнотація:
Ce travail analyse l'œuvre "théâtrale" de Gertrude Stein (théâtre "virtuel"), depuis les premières "pièces" (1913) jusqu'à l'opéra The mother of us all (1946). Il s'appuie sur une distinction non dogmatique entre deux pôles : le dramatique - construction d'une action, conflit - et le théâtral - conception picturale et symbolique de l'espace, temps suspendu, prééminence des images. Après un premier chapitre "panoramique" intitule "genèse et fortune", une analyse des textes eux-mêmes fait apparaitre : 1. La récurrence de certains mots privilégiés appelés ici "mots-figurants" (mean, yes ou may, par exemple). 2. Un jeu steinien sur les noms, appelé ici "Gertrude Stein onomaturge". 3. La corrélation entre théâtre et prière, ou théâtre et méditation ("des saints en actes"). 4. La prédominance d'un thème et modèle de fonctionnement : la guerre. Le théâtre "virtuel" de Gertrude Stein semble bien avoir influence directement ou indirectement des artistes de l'avant-garde des années 60 et 70 tels que Bob Wilson et Richard Foreman, mais on trouve aussi chez elle des traits qu'on trouvera en France ou en Angleterre chez des auteurs dramatiques tels que Beckett ou Ionesco, Pinter, Marguerite Duras, ou Nathalie Sarraute<br>This study of Gertrude Stein's theatre (from the first "plays" in 1913 to The opera the mother of us all in 1946) is based on the distinction between drama proper and theatricality, a quality which can be found in writings not designed for the stage. Drama is based on constructed action and conflict, while theatricality is the pictorial quality of language, framing devices, the visibility of speech, the dream-like quality of images. Gertrude Stein's "plays", which indeed play with language, are approached from various points of view: small units such as recurrent words (mean, yes or may, for example), nouns and titles, the symbolic vision of space (as in pre-renaissance paintings), an almost mystic suspension of time (for saints, "acting" means doing nothing), the theatrical as one dimension of war and war as one dimension of the theatrical. The innovations of Gertrude Stein, it is argued, have influenced the European (and European) avant-garde of the sixties and seventies: Beckett, Ionesco, Pinter, Duras, Sarraute, Bob Wilson, Richard Foreman, Sam Shepard
8
Koziarz, Vincent. "Plongement des espaces q-Stein." Nancy 1, 1998. http://www.theses.fr/1998NAN10295.
Повний текст джерелаАнотація:
La première partie de ce travail a pour but d'approfondir l'étude des espaces q-Stein, lesquels sont stables par passage aux sous-espaces fermés. Tout espace q-Stein s'envoie canoniquement, par le biais des sections globales du fibré qu'il porte, dans un espace projectif. Or, les exemples les plus caractéristiques d'espaces q-Stein, que nous détaillons, sont réalisables dans le projectif (ce sont en particulier des ouverts ou des fibres affines). Il est par conséquent naturel de s'interroger sur les possibilités de plonger proprement un espace q-Stein quelconque dans ces exemples privilégiés. Un contre-exemple montre l'impossibilité de résoudre ce problème dans le cas général. Mais par ailleurs, nous dégageons d'autres notions simples d'espace q-Stein, très proches de celle initialement définie par D. Barlet et A. Silva, et légèrement plus fines. Nous obtenons alors des théorèmes de plongement qui lient, par des conditions nécessaires et suffisantes, ces nouveaux concepts et le type des espaces d'arrivée que nous nous imposons. Dans la seconde partie, nous montrons différents résultats d'annulation de la cohomologie pour les fibrés semi-positifs. Nous donnons ensuite des applications a des situations relatives et une généralisation du théorème de Nakano.
9
Cervi, Rosella <1968>. "La gratuità in Edith Stein." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1912.
Повний текст джерелаАнотація:
La tesi si propone di presentare la vita e l'opera di Edith Stein, allieva di Edmund Husserl, il cui percorso intellettuale si snoda attraverso la considerazione dell'aspetto antropologico-relazionale e ontologico della persona, alla luce dell'empatia, della gratuità e della fede.
10
Hackermeier, Margaretha. "Einfühlung und Leiblichkeit als Voraussetzung für intersubjektive Konstitution : zum Begriff der Einfühlung bei Edith Stein und seine Rezeption durch Edmund Husserl, Max Scheler, Martin Heidegger, Maurice Merleau-Ponty und Bernhard Waldenfels /." Hamburg : Kovač, 2008. http://d-nb.info/989238547/04.
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11
Mühlbauer, Lore. "Lykische Grabarchitektur vom Holz zum Stein? /." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=964602652.
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12
Stein, Sebastian [Verfasser]. "HSC-Kantenbearbeitung von Blech / Sebastian Stein." Aachen : Shaker, 2010. http://d-nb.info/1081884592/34.
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13
McLean, Mark Robert Leonard. "The symplectic topology of Stein manifolds." Thesis, University of Cambridge, 2008. https://www.repository.cam.ac.uk/handle/1810/265492.
Повний текст джерелаАнотація:
Exotic Stein manifolds are Stein manifolds diffeomorphic to JR2 k which cannot be embedded symplectically into the Stein manifold < r:,k. In this thesis we prove two results about exotic Stein manifolds. The first result shows us that in each complex dimension > 2, there exists an exotic Stein manifold which is not symplectomorphic to any finite type Stein manifold. The second result states that in each dimension > 3 there are infinitely many finite type exotic Stein manifolds which are pairwise distinct as symplectic manifolds.
14
Stein, Benjamin [Verfasser]. "Multivalente Ligandenhüllen kolloidaler Nanopartikel / Benjamin Stein." Berlin : Freie Universität Berlin, 2014. http://d-nb.info/1054328951/34.
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15
Ma, Yilin. "Nonlinear Calderón Problem on Stein Manifolds." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25757.
Повний текст джерелаАнотація:
This thesis is devoted to the study of inverse problems for semilinear elliptic equations on Stein manifolds with Kähler metric. After developing some preliminary techniques, we will show that the Dirichlet-Neumann maps for certain semilinear elliptic equations determine the nonlinearities. We will consider two inverse problems of this kind with distinct geometric conditions imposed. The first one is the inverse problem for nonlinear Schrödinger equations on Kähler manifolds having specific Stein-like properties. The second one is the inverse problem for nonlinear magnetic Schrödinger equations on Riemann surfaces with partial data boundary measurements. In both cases, the nonlinearities involved are assumed to have certain analytic representations and vanishing lower order terms. The key observation is that, by a suitable linearisation procedure, one could transform the nonlinear problems into series of linear problems which have close connections to the techniques we develop.
16
Abreu, Andreia Manuela Passos de. "Gertrude Stein e o cubismo literário." Master's thesis, Universidade Aberta, 2008. http://hdl.handle.net/10400.2/1225.
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17
Gibbs, Anna. "Gertrude Stein and feminist literary theory." Thesis, Gibbs, Anna (1989) Gertrude Stein and feminist literary theory. PhD thesis, Murdoch University, 1989. https://researchrepository.murdoch.edu.au/id/eprint/52950/.
Повний текст джерелаАнотація:
This thesis attempts to render intelligible some significant issues in feminist literary theory - and perhaps 'feminist theory' more generally - through a reading of some of Gertrude Stein's writing, concentrating especially on The Autobiography of Alice B. Toklas and some of Stein's shorter prose.
The issues explored all arise out of the confrontation of Anglo-American empiricism with what has been qualified - too neatly - as French theoretical work in the domains of philosophy, and literary theory. I refer particularly to a body of work that may be broadly termed 'postmodern', though in fact it is heterorather than homo- geneous.
While this work is troubling to feminists for its reinscription of metaphors of Woman, local rather than global uses of it may open up new possibilities for feminist readings of texts other than those that form a part of the realist canon and have come to dominate (especially) American thought about feminist strategies of writing and reading. Modernist and postmodernist texts fit less easily into a critical framework which concerns itself primarily with defining and delimiting a female literary tradition, and hence depends upon notions of the self as individual, autonomous entity; of experience as conscious and transparent; and writing as representation.
My reading of Gertrude Stein aims to show both how her texts resist this kind of interpretation, and how, within a framework of sexual difference, they may be mobilized to elaborate (and problematize) questions of authorship, of the possibility of feminine subjectivity, and of 'writing the body'.
Further, I argue that a focus on these issues reveals the androcentric bias of most discussions of modernism, especially as it is opposed to postmodernism, and that an adequate reading of Stein's writing must force a redefinition of the relations between the two. Thus, the very theoretical work which facilitates a new understanding of Stein's textual strategies can in turn be revised by such a reading.
18
Geronimo, Vanessa. "A peça-paisagem de Gertrude Stein." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/136321.
Повний текст джерелаАнотація:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.<br>Made available in DSpace on 2015-11-10T03:07:04Z (GMT). No. of bitstreams: 1
336030.pdf: 1022966 bytes, checksum: e8b23710b7dc600a38125224d3d9b0e4 (MD5)
Previous issue date: 2015<br>Esta pesquisa foi realizada pensando na tradução da peça-paisagem, peça-ópera, Four Saints in Three Acts, escrita em 1927, pela autora norte-americana Gertrude Stein (1874-1946). A peça foi elaborada musicalmente por Virgil Garnett Thomson (1896 ? 1989), crítico e compositor americano que, após estabelecer uma amizade com Stein, pediu se ela poderia escrever um libreto, uma ópera, para que ele fizesse o arranjo musical. Four Saints, publicada na obra Last Operas and Plays (1949), inicia na página 440 e termina na página 480. Nesta pesquisa serão apresentadas duas traduções para o português brasileiro das primeiras seis páginas da peça ? páginas 440 a 445 ? escrita em língua inglesa. Uma das traduções teve o foco mais literal, buscando manter o significado das palavras; e a outra, considerando as peculiaridades do texto steiniano, teve o foco mais autoral, fazendo uma dosagem entre forma e conteúdo, privilegiando ambos. A peça foi apresentada pela primeira vez em 1934 no Wadsworth Atheneum museum, em Hartford, Connecticut, nos Estados Unidos. Duas semanas depois foi para a Broadway; também foi comentada em diversas colunas de jornais e em rádios, levando à fama uma nova forma de teatro.<br><br>Abstract : This research was conducted considering the translation of the play-landscape, play-opera, Four Saints in Three Acts, written in 1927 by American author Gertrude Stein (1874-1946). The play was set to music by Virgil Garnett Thomson (1896 - 1989), American composer and critic who, after establishing a friendship with Stein, asked if she could write a libretto, an opera, for him to do the musical arrangement. Four Saints, published in the work Last Operas and Plays (1949), starts on page 440 and ends on page 480. In this research it will be presented two translations to Brazilian Portuguese of the first six pages of the play - pages 440 to 445. One of the translations had a more literal focus to keep the meaning of words; and the other, considering the steinian text peculiarities, had a more authorial focus, making a mix between form and content, focusing both. The play was first performed in 1934 at the Wadsworth Atheneum museum in Hartford, Connecticut, in the United States. Two weeks later it went to Broadway; it was also commented on several columns of newspapers and radio stations, leading to fame a new form of theater.
19
Thomas, Chloé. "Gertrude Stein : une poétique du réalisme." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA090/document.
Повний текст джерелаАнотація:
Gertrude Stein (Allegheny, Pennsylvanie, 1874 – Paris, 1946), figure centrale du modernisme américain, est souvent saluée pour avoir porté très loin une expérience linguistique et grammaticale, au sein d’une œuvre très vaste explorant tous les genres – romans, nouvelles, poèmes longs et courts, essais et conférences, pièces de théâtre, livrets d’opéra, biographies et autobiographies. L’objet de ce travail est d’analyser le rapport que la langue de Gertrude Stein entretient avec le réalisme : comme tradition littéraire d’abord, en réinvestissant l’héritage naturaliste et en l’américanisant par le remplacement de Claude Bernard par William James comme figure tutélaire de la méthode expérimentale ; comme déplacement du réel dans la langue elle-même qui échoue toujours à se réifier tout à fait ; comme injonction à la véracité enfin, dans des fictions plus tardives qui mettent en scène leur propre mauvaise foi et font de l’Amérique le territoire idéal et idéel de l’iréel. Parallèlement, nous tentons de mettre au jour la dynamique des genres qui se joue dans cette conversation renouvelée avec le réalisme, où chaque déplacement au sein d’une poétique mouvante devient une nouvelle façon de mettre la langue à l’épreuve du monde et de sa capacité à le viser. À partir de deux œuvres du début de sa carrière (les trois nouvelles de Three Lives et le long roman The Making of Americans), de sa poésie dite descriptive (les « portraits »), des Stanzas in Meditation et de deux œuvres en prose plus tardives (Four in America et Ida a Novel) nous essayons de comprendre la façon dont Stein envisageait les partitions génériques, notamment entre prose et poésie, et le rôle qu’elle leur donnait dans son parcours artistique et esthétique<br>Gertrude Stein (Allegheny, Pennsylvania, 1874 – Paris, 1946) is a central figure of American modernism. She is celebrated for the radical experiments with language and grammar she conducted throughout a literary career in which she tried her hand at all genres: novels, novellas, long and short poems, essays, conferences, plays, opera librettos, biographies and autobiographies. The present dissertation analyzes the connections of Stein’s language to realism. The notion will be understood, first, as a literary tradition, which Stein reinterprets by americanizing it (through the replacement of Claude Bernard by William James as her mentor in the experimental method); second, as a displacement of the “real” within language itself, despite its consistent failure to become just a thing among others; third, as a call to veracity, in later works of fiction which stage their own disingenuousness and make America the ideal territory of the unreal. It will be argued that this constantly evolving conversation between Stein’s work and realism also implies a renewal of generic issues: each shift within an unstable generic system is a new way to test the ability of language to account for the world. Focusing on two early works (the three novellas of Three Lives and the long novel The Making of Americans), pieces of “descriptive” poetry (the “portraits”), the Stanzas in Meditation and two later prose works (Four in America) and (Ida a Novel), this dissertation will try to show how Stein understood generic boundaries, including that between poetry and prose, and what part they played in her aesthetic development
20
at, Andreas Cap@esi ac. "Markov Operators and the Nevo--Stein Theorem." ESI preprints, 2001. ftp://ftp.esi.ac.at/pub/Preprints/esi1077.ps.
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21
Persson, Håkan. "On Stein Neighborhood Bases and the Nebenhülle." Thesis, Umeå University, Mathematics and Mathematical Statistics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-31704.
Повний текст джерелаАнотація:
<p>This thesis consists of three parts. The first part is a introduction to the theory of domains of holomorphy through holomorphic convexity. The second part gives a introduction to Stein neighborhood bases in <strong>C</strong><sup>n</sup><strong> </strong>and presents some minor results on the Nebenhülle of a compact set in <strong>C</strong><sup>n</sup>. The third and final part reviews some results on the existence of Stein neighborhood bases.</p><br><p>Denna uppsats består av tre delar. Den första delen introducerar holomorfiområden genom teorin för konvexitet med avseende på holomorfa funktioner. Den andra delen är en introduktion till Steinomgivningsbaser i <strong>C<sup>n</sup></strong> och presenterar några smärre resultat rörande Nebenhüllet till en kompakt mängd i <strong>C<sup>n</sup></strong>. Den tredje och sista delen ger en överblick över en del resultat om existensen av Steinomgivningsbaser.</p>
22
Barea, Rudimar. "O TEMA DA EMPATIA EM EDITH STEIN." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/9149.
Повний текст джерелаАнотація:
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This paper aims to describe from a steiniana perspective on the theme of empathy, as constitutor element of uniqueness of the human person, in the relationships we have subjectively and intersubjectively with each other. He background thread is to present, as Edith Stein philosophically position yourself in search of the essence of the theme of empathy, and what are the prospects opening up from its investigation. In this sense, questions and notes are highlighted on the subject of empathy of her teacher Edmund Husserl and confrontations with other similar experiences, raised by other philosophers, such as; Theodor Lipps and Max Scheler. Edith Stein puts in theoretical confrontation with the phenomenological tradition, seeking to describe the essence of the acts of empathy, and affirms the importance of this experience, as constitutor element of uniqueness of the human person. We develop our research, substantiated by the phenomenological method and literature, of which, there is the work of Edith Stein, "About the problem of empathy" (Zum problem der Einfühlung) and Ideas II of Edmund Husserl. The structure of the dissertation was divided into three parts inextricably linked, from which we highlight: At first we describe on the subject of empathy Edmund Husserl, where we present his phenomenological position on the issue, and some developments that allowed her reflection. Our main goal at the moment is to present basic research, in which Stein followed. The second time, presents the theme of empathy in essence according to Stein. In this sense we list the main concepts and philosophical clashes that Stein sets out to do, showing genuine character as a result of empathy and their execution conditions. The third time, we discussed the act of empathizing. Our intention is to introduce empathy, as constitution experience the uniqueness of the human person and the affirmation of personal and other people's values in their relations. However, we affirm that in our relations, there is the possibility of a reciprocal exchange of knowledge and personal values, or formed by our community, safeguarding the dignity of our own existence. This reciprocity is qualified by experience of empathy that enables us to put up from 'other' point of view (the one originating in 'other') and discover hitherto unknown values.<br>O presente trabalho tem por objetivo descrever, desde uma perspectiva steiniana, sobre o tema da empatia, como elemento constituidor da singularidade da pessoa humana nas relações que estabelecemos subjetiva e intersubjetivamente com o outro. A discussão de fundo consiste em apresentar como Edith Stein posiciona-se filosoficamente na busca da essência do tema da empatia e quais são as perspectivas que se abrem desde sua investigação. Nesse sentido, ressaltam-se os questionamentos e os apontamentos sobre o tema da empatia de seu mestre, Edmund Husserl, bem como as confrontações com as outras vivências similares levantadas por outros filósofos, como por exemplo: Theodor Lipps e Max Scheler. Edith Stein coloca-se em confronto teórico com a tradição fenomenológica, na busca de descrever a essência dos atos de empatia e afirma a importância desta vivência, como elemento constituidor da singularidade da pessoa humana. Desenvolvemos nossa pesquisa, fundamentada pelo método fenomenológico e por pesquisa bibliográfica, da qual, destaca-se a obra de Edith Stein, Sobre o problema da empatia (Zum problem der Einfühlung) e Ideias II , de Edmund Husserl. A estruturação da dissertação foi dividida em três partes intrinsecamente interligadas, das quais destacamos: No primeiro momento, descrevemos sobre o tema da empatia de Edmund Husserl, onde apresentamos o seu posicionamento fenomenológico sobre o tema e alguns desdobramentos que a sua reflexão permitiu. Nosso objetivo principal nesse momento, é apresentar a base de investigação, pela qual Stein seguiu. O segundo momento apresenta o tema da empatia em sua essência, segundo Stein. Neste sentido, elencamos os principais conceitos e embates filosóficos que Stein se propõe a fazer, mostrando como resultado o caráter genuíno da empatia e suas condições de efetivação. Já no terceiro momento, discutimos sobre o ato de empatizar. Nossa intenção tem como finalidade apresentar a empatia como vivência constituidora da singularidade da pessoa humana e da afirmação dos valores pessoais e alheios em suas relações. Contudo, afirmamos que, em nossas relações existe a possibilidade de uma troca recíproca de conhecimento e dos valores pessoais ou constituídos pela nossa comunidade, que garantem a dignidade da nossa própria existência. Essa reciprocidade é qualificada pela vivência da empatia que nos possibilita colocar-se deste outro‟ ponto de vista (aquele originário do outro‟) e descobrir valores até então desconhecidos.
23
Stein, Erik [Verfasser]. "Synthesis of Reactive Distillation Processes / Erik Stein." Aachen : Shaker, 2003. http://d-nb.info/1181602440/34.
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24
Siclovan, Diana. "Lorenz Stein and German socialism, 1835-1872." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/283220.
Повний текст джерелаАнотація:
This thesis traces the intellectual trajectory of Lorenz Stein (1815-1890), a German legal scholar and political thinker who, despite being a significant theorist during his lifetime, is an obscure figure today, especially in Anglophone scholarship. It focuses on Stein's writings on socialism and argues that they provide crucial insights into the changing nature of socialist thought in the mid-nineteenth century. It contributes to the project of departing from a Marxist interpretation of the history of socialism that has long been predominant, and uses Stein's intellectual biography to illustrate how contingent political, cultural and personal factors have shaped both the creation and reception of socialist ideas.
25
Bavaresco, Gilson. "O conceito de pessoa em Edith Stein." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3590.
Повний текст джерелаАнотація:
A obra de Edith Stein denominada A Constituição da Pessoa Humana (Der Aufbau der menschlichen Person), de 1932-1933, é resultante do curso sobre antropologia filosófica oferecido às alunas do Instituto Alemão de Pedagogia Científica, em Münster, e foi escrita no contexto de estabelecimento da Antropologia Filosófica, alguns anos após a obra de Max Scheler, denominada A Posição do Homem no Cosmos (1928), e respondendo às questões formuladas nela. Na obra, Stein realiza um diálogo entre a filosofia de Tomás de Aquino e a fenomenologia de Edmund Husserl. Utilizando o método do segundo e a orientação nas questões do primeiro, visa oferecer uma resposta à questão “o que é o homem?”, como fundamento para a pedagogia, e distinguir a Antropologia Filosófica de outras formas de antropologia. No texto, Stein expõe a sua tese sobre a pessoa: “ele pode e deve 'formar' a si mesmo” (STEIN, 2014, p. 123). É na análise e discussão desta ideia de pessoa que se centra a presente dissertação. Para tanto, investigou-se também como a questão antropológica, no contexto em que Stein elaborou a sua obra, erigiu-se como tema tão importante na Alemanha e algumas questões que estão envolvidas com essa problemática, bem como analisou-se minimamente a peculiaridade do método fenomenológico quando aplicado à questão do ser humano. A pessoa é compreendida como um ser espiritual e livre, centro de atos e com consciência de si, mostrando proximidades com a compreensão de Scheler. No entanto, Stein descreve a estrutura essencial do espírito, que manifesta como peculiaridade – frente aos níveis inferiores de ser – o poder de formar a si mesmo e, como sendo essencial ao espírito, esse desdobrar-se entre eu e si, designando-se, por este último, o conjunto de capacidades de sua natureza humana, dadas ao eu para a sua autoconfiguração livre e singular. Essa pessoa espiritual e livre é compreendida como pertencendo essencialmente a uma estrutura anímica em cuja espacialidade pode se mover e cujos atos, em relação ao mundo, são mais ou menos profundos.<br>Submitted by cmquadros@ucs.br (cmquadros@ucs.br) on 2018-03-28T18:12:53Z
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Previous issue date: 2018-03-28<br>La obra de Edith Stein denominada La Constitución de la Persona Humana (Der Aufbau der menschlichen Person), de 1932-1933, es el resultado del curso sobre antropología filosófica ofrecido a las alumnas del Instituto Alemán de Pedagogía Científica en Münster, y fue escrita en el contexto de la consolidación de la Antropología Filosófico-Fenomenológica en los años 30, algunos años después de la obra de Max Scheler, denominada La posición del Hombre en el Cosmos (1928), y respondiendo a las preguntas formuladas en ella. En la obra, Stein realiza un diálogo entre la filosofía de Tomás de Aquino y la fenomenología de Edmund Husserl. Utilizando el método del segundo y la orientación en las cuestiones del primero, pretende ofrecer una respuesta a la pregunta "¿qué es el hombre?", como fundamento para la pedagogía, y distinguir la antropología filosófica de otras formas de antropología. En el texto, Stein expone su tesis sobre la persona: "él puede y debe 'formarse' a sí mismo" (STEIN, 2014, p. 123). Es en el análisis y discusión de esta idea de persona que se centra la presente disertación. Para ello, se investigó también cómo la cuestión antropológica, en el contexto en que Stein elaboró su obra, se erigió como tema tan importante en Alemania y algunas cuestiones que están involucradas con esa problemática, así como se analizó mínimamente la peculiaridad del método fenomenológico cuando se aplica a la cuestión del ser humano. La persona es comprendida como un ser espiritual y libre, centro de actos y con conciencia de sí, mostrando cercanía con la comprensión de Scheler. Sin embargo, Stein describe la estructura esencial del espíritu, que manifiesta como peculiaridad –frente a los niveles inferiores de ser– el poder de formarse a sí mismo y, como siendo esencial al espíritu, ese desdoblamiento entre yo y sí, designándose por este último, el conjunto de capacidades de su naturaleza humana dadas al yo para su auto-configuración libre y singular. Esta persona espiritual y libre es comprendida como perteneciente esencialmente a una estructura anímica en cuya espacialidad puede moverse y cuyos actos, en relación al mundo, son más o menos profundos.
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Lu, Chi-fen. "La représentation des espaces chez Gertrude Stein." Paris 10, 2005. http://www.theses.fr/2005PA100039.
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De nombreux et variés types d’espace ou paysages fascinent Stein au point que ses écrits consacrés à leur représentation constituent chez elle un thème récurrent, caractéristique et important. Cependant, si nous trouvons que sa représentation des espaces mérite une attention particulière, ce n’est pas simplement parce qu’elle lui sert répétitivement de sujet d’écriture. En effet, à travers ses différentes manières de représenter l’espace, nous constatons davantage un changement continu dans ses idées et ses pratiques d’écriture. Ceci est du au changement de sa vision spatiale et celui de sa conception de la littérature qui ont souvent des influences réciproques. Pour être plus précis, Stein utilise fréquemment différents styles linguistiques ou même différents genres littéraires afin de mieux exprimer les caractéristiques des différents espaces. Nous souhaiterions examiner dans le présent travail la représentation de trois types singuliers d’espaces chez Gertrude Stein dont chacun est associé par nous à une méthode particulière d’écriture. Dans les trois chapitres suivants, nous étudierons successivement la représentation de l’espace domestique et «l’esthétique de surface» dans Tender Buttons (1912), la représentation des paysages modernes américains et la théorie du «human mind» (entre 1934 et 1938) et enfin le chronotope de la guerre et la «méthode prophétique» dans Wars I Have Seen (1946)<br>A variety of spaces and landscapes fascinated so much Gertrude Stein that their representations constituted a recurrent, special and important theme in her writing. However, we think that Stein’s representation of spaces deserves a specialized research not merely because it is one of the subjects which she takes upon oftenest. In fact, through her different manners of representing the space, we can observe constant changes in her conception and style of writing. This is due to the frequent mutual influence between her vision of space and her vision of literature. As a result, Stein creates often new linguistic styles and even new literary genres in order to express les characteristics of new spaces or landscapes. In this dissertation, we would like to analyze Stein’s representation of three distinct types of spaces, each of which will be associated with a specific writing method. In the following three chapters, we will study successively the representation of domestic space and the “esthetic of surface” in Tender Buttons (1912), the representation of modern American landscapes in a series of texts written from 1934 to 1938 and the notion of “human mind,” and finally the chronotope of war and the “prophetic method” in Wars I Have Seen (1946)
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Angles, Michel. "Le syndrome de stein-leventhal de l'adolescente." Aix-Marseille 2, 1988. http://www.theses.fr/1988AIX20311.
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He, Jian. "Symplectic field theory of subcritical Stein manifolds /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Simon, Emöke. "Gertrude Stein : l'identité à l'épreuve du rythme." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030116.
Повний текст джерелаАнотація:
La conception steinienne du rythme comme manifestation de l’identité ouvre la voie à une perception diagrammatique du texte. Si le rythme est diagramme, c’est-à-dire l’image en mouvement d’une pensée, il postule une conception littérale du rapport de l’acte d’écriture et d’une idée susceptible de le motiver. Cette étude propose de considérer le rythme textuel de Gertrude Stein comme l’expression d’une pensée qui interroge le concept d’identité en tant que champ de confrontation entre l’intérieur et l’extérieur, entre le désir et la loi, entre soi et autrui, ou encore, entre l’écrivain et le lecteur. Les textes de Gertrude Stein interrogent l’être au monde –collectif et singulier – même à travers leur personnages, toutefois ceux-ci se laissent investir parle rythme au point de devenir des personnages rythmiques, en même temps que le rythme devient l’espace performatif où les figures de l’Un, du double et du multiple se défient ou se superposent.L’interaction de ces figures, la nature des rapports qu’elles engagent donnent lieu à une expérience rythmique à multiple visages qui, traversée par la logique de la sensation, postule la présence du texte comme corps et place le rapport de l’écrivain et du lecteur sous le signe du devenir. Si le rythme interroge l’identité, c’est par le rythme qu’une identité textuelle peut être saisie. Émergé de son élan vers le lecteur et son désir du rythme, le texte steinien pourrait alors se définir à travers un geste d’écriture et d’une voix qui le sculptent selon les lois du pli, du chiasme,ou du cercle, sous les yeux du lecteur et sous le regard qu’il porte sur lui-même. L’intensité et l’immediateté qui le caractérisent lui assurent le statut d’une action performative et le donne à voir comme un corps burlesque. L’écriture de Gertrude Stein est présence qui interroge, remet en question à la manière d’un postulat critique, déterritorialise et territorialise le champ artistique contemporain où il continue à se chercher dans son rapport à autrui<br>The steinian conception of rhythm as expression of identity paves the way for a diagrammatic perception of the text. If rhythm is a diagram, that is to say, the image in movement of a literary thinking, it asserts a literal conception of the relation between the act of writing an dan idea as its possible motivation. This study proposes to approach the textual rhythm of Gertrude Stein as the expression of a thinking that calls into question the concept of identity considered as the confrontation of inside and outside, of desire and law, of self and other, or of the writer and the reader. Gertrude Stein’s text question the being in the world – the collective being as well as the individual – also through its characters, yet they are so intensely conditioned by the rhythm that they become rhythmic characters, meanwhile the rhythm becomes this performative space where the figures of One, the double and the multiple overlap or challenge each other. The interaction of these figures and the nature of the dynamics they engage produce a rhythmic experience of multiple faces which, conditioned by a logic of sensation, asserts the presence ofthe text as body and places the writer/reader relationship under the sign of becoming. If the rhythm questions identity, it is through the rhythm that a textual identity may be grasped.Emerging from its movement towards the reader and the desire of rhythm, the steinian text could then be defined in terms of a gesture of writing and a voice which shape it according to the lawsof the fold, the chiasm, the circle, in the reader’s presence and under the gaze of the text itself.Through its immediacy and its intensity, such a text may claim to ensure a performative actionwhich reveals the text in its burlesque dimension. Gertrude Stein’s writing is presence whichquestions as a critical statement does, it deterritorialises and continues to reterritorialize the fieldof contemporary art where it continues its quest of identity in relation to the other
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Jepsen, Ellenor. "Empati, personlighet och värden : i Edith Steins tidiga fenomenologiska filosofi." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30314.
Повний текст джерелаАнотація:
This paper is about Edith Steins phenomenological investigation on empathy, based on the dissertation she wrote for Edmund Husserl: Zum Problem der Einfühlung. The philosophical method she used was an early phenomenological realism, practiced by phenomenologists in prewar-time, and she was an active member of the Göttingen philosophical society founded in 1907. Her analysis of the phenomenon empathy also includes a theory of emotions which recently has been brought up in the empathy-debate as crucial to an understanding of our empathic experience and our basic intersubjective experience. By looking in to how we perceive the others emotions Stein includes a survey, in the analysis of empathy, over different layers of our personality: from the outer bodily dimension to the inner core in the psychophysical individual. She provides for a phenomenological insight into the structures and layers of the other person, which then creates an understanding of how the emotional aspect of the empathic act discloses the others personality and values.<br>Den här uppsatsen handlar om Edith Steins fenomenologiska analys av empati-begreppet, med grund i doktorsavhandlingen hon skrev för Husserl: Zum Problem der Einfühlung. Hon ägnade sig åt en realistisk fenomenologi i likhet med samtida fenomenologer och var med i Göttingen filosofiska sällskap (grundat 1907). I Steins (tidiga) filosofi får vi dessutom en fenomenologisk inblick i de underliggande strukturerna i psyket, samt en teori om känslor som visar på hur kroppen och psyket i en sammanhängande enhet ger uttryck för våra upplevelser. Uppsatsen lyfter, tillsammans med ny forskning, fram den tyska innebörden av ordet empati (Einfühlung), där Stein på ett realistiskt vis beskriver det kännande jaget som fenomen - det empiriska jaget. Ordet översatt till svenska blir inkännande och det är denna innebörd som här specifikt betraktats i samband med den empatiska akten. Det handlar först och främst om den andres upplevelser och känslor som då utgör fokus i empati - där Steins undersökning av den empatiska upplevelsen och de olika känsloskikten i personen även bidrar till en förståelse för hur känslorna avslöjar personlighet och värden, i en grundläggande intersubjektiv upplevelse.
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Müller, Andreas Uwe. "Grundzüge der Religionsphilosophie Edith Steins /." Freiburg i. Br. : K. Alber, 1993. http://catalogue.bnf.fr/ark:/12148/cb35647734v.
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Schrage, Franz H. "Edith Stein, Philosophin und Heiliggesprochene, im Spannungsfeld zwischen Juden und Christen." Aachen Shaker, 2009. http://d-nb.info/996984720/04.
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Tulloch-Hoskins, Amanda Julie Pearl. "Gertrude Stein and the power of the erotic /." Title page, table of contents and conclusions only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09art919.pdf.
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Stein, Wolfgang [Verfasser]. "Die Verarbeitung sensorischer Signale im Nervensystem / Wolfgang Stein." Ulm : Universität Ulm. Fakultät für Naturwissenschaften, 2006. http://d-nb.info/1015901301/34.
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Stein, Friederike [Verfasser]. "Charakterisierung und Optimierung von Halbleiter-Einzelelektronenpumpen / Friederike Stein." Hannover : Technische Informationsbibliothek (TIB), 2017. http://d-nb.info/1136090347/34.
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Sinske, Marcel [Verfasser], and O. [Akademischer Betreuer] Stein. "Robuste Portfolio-Optimierung / Marcel Sinske. Betreuer: O. Stein." Karlsruhe : KIT-Bibliothek, 2013. http://d-nb.info/1044349514/34.
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Daly, Fraser Alexander. "New bounds on stein-type operators, with applications." Thesis, University of Nottingham, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495590.
Повний текст джерелаАнотація:
Stein's method for probabiilstic approximation has been applied in a wide variety of settings. Chapter 1 of this thesis provides an introduction to Stein's method, outlining Stein's approach and introducing many of the concepts that will be developed in the main body of the work, Chapters 2-4.
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Evans, J. D. "Symplectic topology of some Stein and rational surfaces." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598911.
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A <i>symplectic manifold </i>is a 2<i>n</i>-dimensional smooth manifold endowed with a closed, non-degenerate 2-form. This picks out the set of <i>Lagrangian submanifolds, n</i>-dimensional submanifolds on which the 2-form vanishes, and the group of <i>symplectomorphisms, </i>diffeomorphisms which preserve the symplectic form. In this thesis I study the homotopy type of the (compactly-supported) symplectomorphism group and the connectivity of the space of Lagrangian spheres for an array of symplectic 4-manifolds comprising some Stein surfaces and some Del Prezzo surfaces. In part I of the thesis, concerning Stein surfaces, I calculate the homotopy type of the compactly-supported symplectomorphism group for C* x C with its split symplectic form and <i>T</i>*RP<sup>2</sup> with its canonical symplectic form. More significantly, I show that the compactly-supported symplectomorphism group of the 4-dimensional <i>A<sub>n</sub></i>-Milnor fibre {<i>x</i><sup>2</sup> + <i>y</i><sup>2</sup> + <i>z<sup>n</sup></i><sup>+1</sup> = 1} is homotopy equivalent to a discrete group which injects naturally into the braid group on <i>n</i> + 1-strands. In part II of the thesis, concerning Del Pezzo surfaces: I show that the isotopy class of a Lagrangian sphere in the monotone 2-, 3- or 4-point blow-up of CP<sup>2</sup> is determined by its homology class; I calculate the homotopy type of the symplectomorphism group for the monotone 3-, 4- and 5-point blow-ups of CP<sup>2</sup>. The calculations of homotopy groups of symplectomorphism groups rely on nothing more than the standard technology of pseudoholomorphic curves and some involved topological arguments to prove the fibration property of various maps between infinite-dimensional spaces. The new idea is the compactification of the Milnor fibres by a configuration of holomorphic spheres which puts the calculation in a context familiar from the world of Lalonde-Pinsonnault and Abreu. The classification of Lagrangian spheres is based on an argument of Richard Hind.
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Stein, Marcus [Verfasser]. "Ausbreitung von Körperschall in ebenen Strukturen / Marcus Stein." Aachen : Shaker, 2005. http://d-nb.info/1181611016/34.
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Stein, Michael [Verfasser]. "Local Algorithms for Distributed Topology Adaptation / Michael Stein." München : Verlag Dr. Hut, 2018. http://d-nb.info/1153254387/34.
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Hayden, Kyle. "Knot theory of holomorphic curves in Stein surfaces." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107925.
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Thesis advisor: John A. Baldwin<br>We study the relationship between knots in contact three-manifolds and complex curves in Stein surfaces. To do so, we extend the notion of quasipositivity from classical braids to links that are braided with respect to an open book decomposition of an arbitrary closed, oriented three-manifold. Our main results characterize the transverse links in Stein-fillable contact three-manifolds that bound smooth holomorphic curves in Stein fillings. This characterization is made possible by new techniques in the theory of characteristic and open book foliations on surfaces in three-manifolds. We also explore the Seifert genera of cross-sections of complex plane curves, minimal braid representatives of quasipositive links, and the relationship between Legendrian ribbons in contact three-manifolds and strongly quasipositive braids with respect to compatible open books<br>Thesis (PhD) — Boston College, 2018<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Mathematics
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Stein, Judith [Verfasser]. "Interaktionen zwischen dendritischen Zellen und Thrombozyten / Judith Stein." Mainz : Universitätsbibliothek Mainz, 2015. http://d-nb.info/1111044597/34.
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Shin, Ery. "Modernism and the queer : Djuna Barnes/Gertrude Stein." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:71b77d1c-7981-497a-a5c5-8113f5d08c7f.
Повний текст джерелаАнотація:
Djuna Barnes and Gertrude Stein may appear unrelated to one another at first glance. We have an impoverished upstate New Yorker versus relatively comfortable Californian, bisexual romantic nomad versus lesbian monogamist, nihilist versus life-affirming enthusiast, and agnostic-atheist versus secular Jew. When they are referenced together (which happens rarely), it is usually in the context of their Parisian exploits. But a closer look reveals more vital affinities. Both writers remain problematically situated in the modernist canon. Both were inspired by visual art. Both struggled to get published during their lifetimes. Both disassociated themselves from mainstream feminist movements, preferring subtler, more idiosyncratic ways of questioning the status quo. Both held a sustained interest in the queer and, as this dissertation seeks to demonstrate, imagined that theme in original ways—Barnes, through loss; Stein, through phenomenology. Writing out of the spirit of Christian martyrdom, Barnes revels in queer suffering and its transfiguring potential: queers extravagantly lose (themselves), fail, and suffer, yet such ordeals aren’t without value. The first half of my dissertation, thus, appraises Barnes’ “queer negativity” in general before pondering how its masochistic energies push against those authorities that would negate the queer. Chapter One analyzes Barnes’ mythical-seeming transgendered figures who encounter profound failure, despite the imaginative freedom emanating from their ahistorical surroundings. Barnes’ sense of queer failure intensifies in Chapter Two, where same-sex desire invokes the abject by symbolically collapsing psychic boundaries between lovers and refusing reproductive futurity. Both chapters contextualize the moral inversion that becomes the focus of Chapter Three: how does such nihilism tragically ennoble the queer and endow it with insurgent impulses? Without taking a self-consciously queer activist stance, Barnes draws on what Gilles Deleuze would later enunciate as an inverted affect regime: the power of punishment to enforce repressive sexual regulations through pain and hence to bridle perversion becomes inverted when punishment opens the portal to pleasure, when pleasure relocates to sites of perversion. If Barnes writes as a romantic martyr, Stein looks at the queer through a phenomenologist’s eyes. The reciprocity between social conditioning and consciousness, in particular, remains an urgent concern throughout her career. To be “queer,” one often breaks away from a lifetime of habituated orientations toward sex and gender. But queerness cannot wholly bracket the norms that have been left behind. It exists in relation to what it queers. Foregrounding this discussion, Chapter Four examines how Stein’s modernism, phenomenology, and queer criticism intersect. Chapter Five investigates how “Miss Furr and Miss Skeene,” “Many Many Women,” and The Making of Americans reorient us from the “straight” and narrow. Yet this reorientation remains partial. Not all heteronormative biases can be shed, as is evident in The Making of Americans’ classist undertones running through its “singular” queer vision. The sixth chapter further tests the limits of reorientation as such. Ida’s Ida desperately wants to live a queer life, but discovers that she cannot if she approaches queerness as a radically separatist ideal. A solipsistic universe where she can entirely withdraw from society through sleep, silence, or soliloquy remains a fantasy. Ida’s internal conflict, in turn, mirrors Stein’s struggle to enact aesthetic modes that prove just as impossible to practice, being devoted to eliminating memory, emotions, personal identity, and social awareness.
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Melzer, Tine. "Ludwig Wittgenstein & Gertrude Stein : meeting in language." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3183.
Повний текст джерелаАнотація:
The purpose of this study is to show transitions between verbal and visual meaning in ordinary language, based on philosophical concepts and conceptual artworks. It offers models for artistic research and collaboration in arts and science. Shared experiences in ordinary language are fundamental to this thesis and make it an accessible and trans-disciplinary study. Language as such, is approached from different practices and disciplines and becomes the central object of investigation. The research introduces a general set of mechanisms in language, stemming from the Wittgensteinian notion of the language-game. The study examines the possibility of a meeting between the philosopher Ludwig Wittgenstein and the writer Gertrude Stein in a linguistic, biographical and poetic sense. The main claim is that Wittgenstein and Stein share the understanding of language as a game, which is a fruitful principle for artistic and poetic production. Gertrude Stein developed a dimension in her writing which partly succeeds in showing this notion of creating meaning-as-practice and making sense on the ‘edge’ of conventional meaning. In this way she augments Wittgenstein’s idea of the language-game and puts it into practice, tests its limits on her own language and on the reader’s habits. The artistic works represented in this thesis are equally experimental tests of Wittgenstein’s meaning-as-use hypothesis. They put his ideas into practice. They extend the research with strategies from the arts, poetry and fiction. The methodology of the research is based on Wittgenstein’s notion of meaning as context-dependent use. This concept defines the meaning of a word by the way it is used in a specific context. This perspective is then challenged with visual artistic work. This hypothesis is tested throughout the research by applying tools and concepts from several practices, like computer linguistic tools, collaboration with writers and artists from other fields and autonomous visual and poetic work to augment the study of facts. Conceptual artworks, often produced in collaboration, function as language experiments, or language-games. The Wittgensteinian differentiation between what can be shown and what can be said is examined. The context of the research lies in the practices developed as a conceptual artist in which theoretical research informs artistic practice. This thesis, on the border between verbal and visual language, is founded upon antecedent studies in philosophy of language and the practice of Fine Arts. Against this background the research focuses on the relationship between word, context and meaning: issues of communication, ordinary language, words and their composition, context-based meaning, naming visual phenomena, examination of word-and-world-relationships and vocabularies. Main sources are the major works and biographies of Ludwig Wittgenstein, Gertrude Stein, the critical work of Marjorie Perloff, language philosophers concerned with ordinary language and the contrastive corpus linguistic approach. The results of this research are generated by several interdisciplinary productive methods. Artworks, poetic and scientific work, all of which employ modes of language, and whose their domains overlap. Additionally, the notion of meeting acts as model metaphor for the development of a solid trans-disciplinary methodology for research between science and the arts. One major result of comparing their ideas on language is reflected in the meeting of the language used by Wittgenstein and Stein. Their meeting is materialized in the computer generated Shared Vocabulary, which is a list of words which both Wittgenstein and Stein used in their writing. It applies linguistic tools from contrastive corpus linguistics to compare their vocabularies (corpora), which offers new methods for investigating the works of the philosopher Wittgenstein and writer Stein. Generally, this thesis may act as an introduction to language as ideal fundament for interdisciplinary study. The application of the principle of the language-game (Wittgenstein) is a significant of displaying possible strategies for artists and researchers who work transdisciplinarily. The research results directly inform practice and practitioners from other fields, which means that collaboration is central to the research. It implies that language permeates every sort of research, art and its discourse. It also suggests that the meaning of words and images depend on their use, which extends the Wittgensteinian meaning-as-use hypothesis to visual language. The findings of the research on vocabularies are quite specific, but they overlap with offering simple general mechanisms of the language-game. The consequent alliance of the discussion with the language of the everyday makes the research a general contribution to everyone who is genuinely interested in language and the arts.
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Schmitt, Peter A. "Der Stein von Rosetta: Eine Exkursion zum Fundort." De Gruyter, 2013. https://ul.qucosa.de/id/qucosa%3A21343.
Повний текст джерелаАнотація:
The Rosetta Stone is one of the most important stone fragments in history. It is the most popular single object in London’s British Museum, has been the object of scholarly research and has had much written about it. Indeed, any account of the history of translation will at least mention the Rosetta Stone. Today, the name “Rosetta” is used metaphorically in the context of translation, foreign-language learning, and even space exploration. In the light of this, one would assume that all sources are in agreement on the facts but, surprisingly, this is not the case. This article shows that sources disagree even in the most obvious aspects, such as the material, colour, condition of the stone and, in particular, with respect to its discovery. Based on an excursion to Alexandria, Rashíd and the – in all likelihood – real discovery site in the Nile delta, this article provides facts and casts some doubt on the reliability of internet sources.
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Mehler, Ursula. "Auferstanden in Stein : Venezianische Grabmäler im späten Quattrocento /." Köln : Böhlau, 2001. http://catalogue.bnf.fr/ark:/12148/cb389405514.
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Stubbemann, Claire Marie. "La mujer en Edith Stein : antropología y espiritualidad /." Burgos : Editorial Santos, 2003. http://catalogue.bnf.fr/ark:/12148/cb392707904.
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