100,222 research outputs found
Joshua Davis: Author of Spare Parts
No full textCitation: K-State First (2016). Joshua Davis: Author of Spare Parts [Flier]. Manhattan, Kansas: K-State First.Flyer advertising Joshua Davis's author talk at Kansas State University
Steven Johnson Author Talk Poster
No full textK-State Book NetworkA poster advertising an author talk by Steven Johnson at Kansas State University on September 3, 2014. Steven Johnson's book "The Ghost Map" was the 2014-2015 common book
Konsep Estetika Benedetto Croce
No full textBenedetto dari Italia yang hidup pada tahun 1866-1952. Dia termasuk idealisme dan mendapat pengaruh dari Hegel, Giovanni Gentile Gianbatista Croce adalah filsuf estetika terbesar di abad XX dari Italia yang hidupa pada tahun 1866 - 1952. Dai termasuk aliran idealisme dan mendapat pengaruh dari Hegel , Givani Gentile da Gianbatista Vico. Filsafat Bennedeto Croce adalah filsafat roh yang menekankan karakter spiritual murni dari karya seni. Roh ini mencakup aktivitas manusia dalam seluruh aspeknya. Dia membedakan dimensi-dimensi jiwa yang bersifat teoritis dan yang bersifat praktis yang keduanya saling berkaitan erat. Keempat hal ini berkesesuaian denga aspek jiwa manusia, yaitu : yang indah, yang benar yang berguna dan yang baik.Penelitian ini merupakan penelitian pustaka. Data yang telah terkumpul dianalisis secara kritis dengan menggunakan metode interpretasi dan historis. Hasil penelitian ini menunjukkan bahwa konsep estetika Benedetto Croce bersifat subyektif. Dia membedakan empat tahap dalam refleksinya mengenai estetik
Konsep Estetika Benedetto Croce
No full textBenedtto Croce adalah filsuf estetika terbesar di abad XX dari Italia yang hidup pada tahun 1866-1952. Dia termasuk aliran idealisme dan mendapat pengaruh dari Hegel, Giovanni Gentile dan Gianbatista Vico. Filsafat Benedetto Croce adalah filsafat roh yang menekankan karakter spiritual murni dari karya seni. Roh ini mencakup aktivitas manusia dalam seluruh aspeknya. Dia membedakan dimensi-dimensi jiwa yang bersifat teoritis dan yang bersifat praktis yang keduanya saling berkaitan erat. Dimensi, teoritis meliputi intuisi dan logika, dan dimensi praktis termasuk di dalamnya kehendak ekonomi dan etika. Keempat hal ini berkesesuaian dengan aspek jiwa manusia, yaitu yang indah, yang benar, yang berguna dan yang baik.
Penelitian ini merupakan penelitian pustaka. Data yang telah terkumpul dianalisis secara kritis dengan menggunakan metode interpretasi dan historis.
Hasil Penelitian ini menunjukkan bahwa konsep estetika Benedetto Croce bersifat subyektif. Dia membedakan empat tahap dalam refleksinya mengenai estetika, yang merupakan suatu evolusi bertahap gaya pikiran dan filsafatnya, yaitu: Intuisi estetis, intuisi lirik, intuisi kosmik serta intuisi dalam sastra dan sei. Intuisi estetis merupakan ciri khas estetika idealis. Intuisi lirik menganggap bahwa puisi itu penting, merupakan pencurahan daripada perasaan. Sedangkan intuisi kosmik yaitu gagasan estetika universal yang ada pada puisi. Sastra dan seni merupakan dimensi jiwa yang bersifat teoritis dan berkaitan dengan aspek yang indah yang kemurnian intuisi pengetahuannya harus dijaga. Croce lebih menghargai seni dibanding dengan metafisika dan ilmu pengetahuan. Dengan seni akan mengantarkan kita pada yang partikulir, yang unik, yang filosofik universal, namun yang secara intuitif mendapatkan bentuknya yang konkret individual. Ilmu Pengetahuan menyajikan utilitas (kegunaan praktis) sedangkan seni menampilkan keindahan. Ilmu pengetahuan menjauhkan dari yang individual dan aktual menuju dunia yang semakin abstrak matematis, yang di dalam kenyataannya tidak ada gunanya bagi kepentingan praktis. Semboyannya "seni untuk seni'. Dalam hal ini seni harus dibersihkan dari semua kepentingan dan kegunaan.
Bagi Benedetto Croce, keindahan tergantung pada kegiatan imajinasi. Tugas Seorang seniman adalah bagaimana ia dapat mengungkapkan suatu citra.
Penelitian ini diharapkan dapat memberikan masukkan ke arah pengembangan seni agar tidak meninggalkan nilai dasarnya yang esensial
Cancer and the FRA3B/FHIT fragile locus: it's a HIT
No full textThe FHIT gene encompassing the most active common human chromosomal fragile region, FRA3B, was discovered in 1996 and proposed as a tumour suppressor gene for important human cancers. Seven years and more than 350 reports later, early questions concerning its tumour suppressor role have been answered. Recent studies on the role of Fhit loss in major types of human cancers report association with high proliferative and low apoptotic indices, node positivity, loss of mismatch repair protein, likelihood of progression and reduced survival. © 2003 Cancer Research UK
Santa Croce alla Giudecca: tessuto urbano e produttivo di un’area di margine
No full textIl saggio illustra le trasformazioni urbane e architettoniche dell'area dove un tempo sorgeva il complesso benedettino di Santa Croce alla Giudecca a Venezia in un lungo arco cronologico che si estende dal XIV al XIX secolo. Il contributo mette in evidenza soprattutto la politica espansionistica condotta a livello urbano dalle monache benedettine tra Quattro e Cinquecento e gli interventi architettonici messi in atto attorno alla metà del XV secolo per ottenere nuovi spazi produttivi e manifatturieri all'interno del cenobio
Der Tod der Kunst bei Croce und Gentile
No full textLa tesi della ‘morte dell’arte’ rappresenta uno degli aspetti maggiormente controversi della estetica hegeliana. Mentre molti interpreti hanno voluto sottolineare come Hegel non abbia mai voluto affermare la fine storica dell’arte, altre interpretazioni hanno preso pienamente sul serio l’affermazione di Hegel. I due massimi filosofi dell’idealismo italiano, Benedetto Croce e Giovanni Gentile, rappresentano due chiari esempi di queste due posizioni opposte. Croce si è occupato a più riprese della questione. Già della Parte Storica della Estetica come scienza dell’espressione e linguistica generale (1902) egli interpreta la tesi della morte dell’arte come conseguenza logica del rapporto instaurato da Hegel tra arte, religione e filosofia, e come coerente con la sua filosofia della storia. Il presente saggio esamina poi la controversia tra Croce e Bernard Bosanquet appunto a proposito della morte dell’arte. Il saggio col quale Bosanquet contestava l’interpretazione crociana è del 1919; la risposta di Croce del 1933. Nel saggio si ipotizza che la risposta di Croce sia giunta a tanta distanza perché in realtà Croce voleva polemizzare con Giovanni Gentile, che nella Filosofia dell’arte del 1931 aveva sostenuto che il transito dell’arte alla religione e alla filosofia non è un passaggio storico, ma un passaggio dialettico e trascendentale, che è sempre in atto senza che esso configuri una scomparsa dell’arte sul piano empirico.
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The thesis of the ‘death of art’ is one of the most controversial aspects in Hegel’s aesthetics. While many interpreters emphasize that Hegel never prophesied an historical end of art, other scholars took Hegel's affirmation in full seriousness. The two leading philosophers of Italian Idealism, Benedetto Croce and Giovanni Gentile, represent two perfect examples of these opposite interpretations. Croce has dealt with the subject several times. Already in the historical section of his Aesthetics as Science of Expression and General Linguistics (1902) Croce reads Hegel’s thesis as a logical consequence of the relationship he established between art, religion and philosophy, and fully consistent with his philosophy of history. The present paper then examines the controversy that opposed Croce and Bernard Bosanquet precisely on this subject. Bosanquet’s essay was written in 1919; Croce’s answer appeared in 1933. In the paper we hypothesize that Croce's answer came so late because he actually wanted to argue with Giovanni Gentile, who had argued that the transition of art to religion and philosophy wasn’t an historical passage, but a dialectical and trascendental one, that is always in progress without this representing a disappearance of art on the empirical level
Pigment-pigment interactions in Lhca4 antenna complex of higher plants photosystem I.
No full textThe red-most fluorescence emission of photosystem I (733 nm at 4 K) is associated with the Lhca4 subunit of the antenna complex. It has been proposed that this unique spectral feature originates from the low energy absorption band of an excitonic interaction involving chlorophyll A5 and a second chlorophyll a molecule, probably B5 (Morosinotto, T., Breton, J., Bassi, R., and Croce, R. (2003) J. Biol. Chem. 278, 49223-49229). Because of the short distances between chromophores in Lhc proteins, the possibility that other pigments are involved in the red-shifted spectral forms could not be ruled out. In this study, we have analyzed the pigment-pigment interactions between nearest neighboring chromophores in Lhca4. This was done by deleting individual chlorophyll binding sites by mutagenesis, and analyzing the changes in the spectroscopic properties of recombinant proteins refolded in vitro. The red-shifted (733 nm) fluorescence peak, the major target of this analysis, was lost upon mutations affecting sites A4, A5, and B5 and was modified by mutating site B6. In agreement with the shorter distance between chlorophylls A5 and B5 (7.9 Å) versus A4 and A5 (12.2 Å) in Lhca4 (Ben-Shem, A., Frolow, F., and Nelson, N. (2003) Nature 426, 630-635), we conclude that the low energy spectral form originates from an interaction involving pigments in sites A5 and B5. Mutation at site B6, although inducing a 15-nm blue-shift of the emission peak, maintains the red-shifted emission. This implies that chromophores responsible for the interaction are conserved and suggests a modification in the pigment organization. Besides the A5-B5 pair, evidence for additional pigment-pigment interactions between chlorophylls in sites B3-A3 and B6-A6 was obtained. However, these features do not affect the red-most spectral form responsible for the 733-nm fluorescence emission band
Apologia de el instituto de los jesuitas : parte primera
No full textAutor tomado de Sommervogel, T. II, col. 1004El traductor es Adrian Antonio Croce (Palau 13879)Sign.: a\p6\s, A-K\p12\s, L\p6\
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