756 research outputs found
Redbird Buzz Episode 20: Dr. Sarah Gerson \u2706, March 28, 2023
Get PDFDr. Sarah Gerson ’06 is a developmental psychologist at Cardiff University in Cardiff, Wales. In the fall of 2020, she was lead author for an internationally publicized study, published in the journal Frontiers in Human Neuroscience, which used neuroscience for the first time to investigate the impact of doll play on children. Gerson earned a bachelor’s degree in psychology from Illinois State University in 2006 and later received a Ph.D. from the University of Maryland. She’s now in her seventh year researching and teaching at Cardiff, and she is featured in the spring 2023 State alumni magazine
Réunion de la salle Gerson. 4 avril 1888
No full textDefodon Charles. Réunion de la salle Gerson. 4 avril 1888. In: Manuel général de l'instruction primaire : journal hebdomadaire des instituteurs. 55e année, tome 24, 1888. pp. 191-193
Annie Shaver-Crandell, Paula Gerson et Alison Stones. — The Pilgrim's Guide to Santiago de Compostela. A Gazetteer. Londres, Harvey Miller Publ., 1995.
No full textCastiñeiras Gonzalez Manuel Antonio. Annie Shaver-Crandell, Paula Gerson et Alison Stones. — The Pilgrim's Guide to Santiago de Compostela. A Gazetteer. Londres, Harvey Miller Publ., 1995.. In: Cahiers de civilisation médiévale, 42e année (n°165), Janvier-mars 1999. pp. 79-82
Notícia o Gersonovi (A Note on Gerson)
No full textAnalysing the political attitudes of professors at Paris University in the 1st third of 15th century, the author focuses on Jean Gerson who courageously opposed the ideological constructions of his contemporaries that were unscrupulously serving power struggles. In the next part she draws attention to the Altar of five Johns, where Gerson is depicted in the company of four renowned saints and proceeds by reflection on relation of the altar painting’s donor Johan Henckel to the personality of Jean Gerson and its significance for our historical narrative
Paula Gerson, Annie Shaver-Crandell, Alison Stones et Jeanne Krochalis — The Pilgrim's Guide to Santiago de Compostela : A Critical Edition. I : The Manuscripts. The Creation, Production and Réception. II : The Text. Londres, Harvey Miller Publ., 1998, 2 vol.
No full textCastiñeiras Gonzalez Manuel Antonio. Paula Gerson, Annie Shaver-Crandell, Alison Stones et Jeanne Krochalis — The Pilgrim's Guide to Santiago de Compostela : A Critical Edition. I : The Manuscripts. The Creation, Production and Réception. II : The Text. Londres, Harvey Miller Publ., 1998, 2 vol.. In: Cahiers de civilisation médiévale, 43e année (n°171), Juillet-septembre 2000. Regards croisés sur l'An Mil, sous la direction de Martin Aurell . pp. 300-303
Paula Gerson, Annie Shaver-Crandell, Alison Stones et Jeanne Krochalis — The Pilgrim's Guide to Santiago de Compostela : A Critical Edition. I : The Manuscripts. The Creation, Production and Réception. II : The Text. Londres, Harvey Miller Publ., 1998, 2 vol.
No full textCastiñeiras Gonzalez Manuel Antonio. Paula Gerson, Annie Shaver-Crandell, Alison Stones et Jeanne Krochalis — The Pilgrim's Guide to Santiago de Compostela : A Critical Edition. I : The Manuscripts. The Creation, Production and Réception. II : The Text. Londres, Harvey Miller Publ., 1998, 2 vol.. In: Cahiers de civilisation médiévale, 43e année (n°171), Juillet-septembre 2000. Regards croisés sur l'An Mil, sous la direction de Martin Aurell . pp. 300-303
Ulsterczyk o imieniu Achilles
Get PDFSchade Gerson, An Ulsterman Named Achilles (Ulsterczyk o imieniu Achilles).A new novel by an English-writing author turns out to be a careful reworking of the story of Achilles, as it is told by Homer. The article elucidates how the modern text works and suggests how it may relate to an ‘Irish’ gaze. A new term, décalage, is introduced to describe a particular poetic device that belongs to the many ways of establishing intertextuality.Schade Gerson, An Ulsterman Named Achilles (Ulsterczyk o imieniu Achilles).A new novel by an English-writing author turns out to be a careful reworking of the story of Achilles, as it is told by Homer. The article elucidates how the modern text works and suggests how it may relate to an ‘Irish’ gaze. A new term, décalage, is introduced to describe a particular poetic device that belongs to the many ways of establishing intertextuality
GERSON DIGITAL – CYFROWA MONOGRAFIA HISTORYCZNOARTYSTYCZNA
No full textGerson Digital is the first of the digital monographies published on-line by the Dutch Rijksbureau voor Kunsthistorische Dokumentatie (RKD) in The Hague. The monography is a revised and updated version of the now classical work by Horst Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts, Haarlem 1942). The scope of the so far published fragment is the chapter on Poland and the influences of the Dutch painting here. Gerson Digital is a very fine and scrupulous piece of editorial and translation work, but its novelty lies rather in the form: it has been published as a digital text interlaced with data (pictures, bibliography, person and artist indexes) that are drawn directly from vast databases which RKD has been building up for the past decades. The text is not therefore enclosed within the borders encircled by the author and his editors, but opens up to other resources. Reader may at some point abandon the text to follow an interesting thread by themselves. Gerson Digital clearly demonstrates the importance of databases for research in art history. Bibliographies, indexes, digital libraries, digital photo collections, and the like should no longer be understood as tools appropriate only for data storage and retrieval but also – and with time maybe primarily – as cornerstones of synthetic interpretation.Gerson Digital to pierwsza z serii monografi cyfrowych publikowanych przez holenderskie Rijksbureau voor Kunsthistorische Dokumentatie (RKD) w Hadze. Monografia jest przejrzaną i uzupełnioną wersją klasycznej już dziś pracy Horsta Gersona, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts (Haarlem 1942). Dotychczas opublikowany fragment obejmuje swym zasięgiem Polskę. Gerson Digital to edycja przygotowana bardzo pieczołowicie pod względem przekładu i redakcji, lecz jej nowatorstwo tkwi raczej w formie: jest to tekst w postaci cyfrowej, przepleciony rozmaitymi danymi (fotografiami, bibliografią, indeksami osobowymi), które odsyłają wprost do bogatych zasobów bazodanowych, zgromadzonych przez RKD w minionych dziesięcioleciach. Tekst nie jest przez to ograniczony ramami nakreślonymi przez autora i wydawców, lecz pozwala na przechodzenie do zasobów zewnętrznych. Czytelnik może więc porzucić lekturę na rzecz samodzielnego poszukiwania informacji w interesującej go kwestii. Gerson Digital jasno pokazuje, jak ważne są zasoby bazodanowe dla badań w zakresie historii sztuki. Bibliografie, indeksy, biblioteki cyfrowe i cyfrowe fototeki, nie powinny być odtąd postrzegane jedynie jako narzędzia do przechowywania i wyszukiwania danych, lecz raczej – a z czasem może: przede wszystkim – jako budulec, z którego powstają opracowania o syntetycznym charakterze
Orientalismos periféricos? O historiador goês José Gerson da Cunha (Bombaim, 1878)
No full textBy analysing a text written in 1878 on Portuguese orientalism in India throughout the 16th and 17th centuries and its author, José Gerson da Cunha, this article questions notions of centre and periphery, cosmopolitism, and marginality in relation to the places of knowledge production and their agents. Through the confrontation of Gerson da Cunha’s historiographical references and its reflexivity, and a text written on the same subject by the Portuguese scholar Sousa Viterbo, the article explores: how did the places from where they were writing influenced their historical perspective and how these places determined the place occupied by Gerson da Cunha within the historiographical canons established subsequently
Were Juan Gerson the Illustrator and Gaspar de Torres the Author of the Voynich Codex?
Get PDFThe bizarre Voynich Codex, discovered in 1912 in Italy by the Polish book dealer Wilfrid Voynich (1864-1930), is written in a coded language with has eluded decipherment despite repeated attempts by world renowned cryptologists. Plant, animal, and mineral identifications as well as iconographic evidence indicate that the Voynich Codex is a 16th century work of New Spain. A typographical ligature based on the initials “JGT” in the first botanical image (folio 1v) suggests that artist was Juan Gerson, Tlacuilo, indigenous painter known for the apocalypse paintings in the monastery Asuncion de Nuestra Senora of Tecamachalco. The name “Gasp. Torres” also embedded in the first botanical image suggests that the author could be Gaspar de Torres, medical doctor, estate lawyer, master of students at the College of Santa Cruz in Tlatelolco from 1568-1572, and Governor of Cuba in 1580. Iconographic similarities between the paintings of Juan Gerson and the Voynich Codex, along with a biography of Gaspar de Torres provide additional support for this conjecture.</jats:p
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