1,873 research outputs found
Interview with Anna Maria Cobb Riles and Humbug Cobb
No full textMrs. Riles and her nephew reminisce about the early days of Anna Maria Island with such topics as the 1921 hurricane discussed. Interview conducted by Libby Warner
Operatori del processo edilizio
Full text linkLemma che descrive i diversi attori del processo edilizio, con particolare attenzione al processo edilizio pubblico - ISBN:ISSN 2284-00IX - visibile su: Wikitecnica.com/author/giovenale-anna-mari
Processo edilizio
No full textLemma che descrive e reinterpreta, rispetto alla letteratura scientifica, il concetto di processo edilizio, definendone l'evoluzione nel tempo ISBN:ISSN 2284-00IX - Visibile su: wikitecnica.com/author/giovenale-anna-mari
Metaprogettazione
No full textLemma che descrive il concetto di metaprogettazione e pone in risalto l'importanza nell'architettura contemporanea dello strumento "metaprogetto" - ISBN:ISSN 2284-00IX - visibile su: Wikitecnica.com/author/giovenale-anna-mari
2013 Lush Training Prize: Anna Maria Bassi’s Research Team, Laboratory of Analysis and Research of Physiopathology (LARF), Department of Experimental Medicine, University of Genova,
No full textinterview to Author for winning Lush Prize 2013 for the efforts to encourage training programmes
aimed at the dissemination of the knowledge,information and skills needed to promote and
support the increased use of available andaccepted non-animal test methods and testing
strategies by regulators and end-users in industryand academia
Anna Maria beyond Niemeyer: National Congress furniture (1957-1977)
No full textO Palácio do Congresso Nacional, em Brasília, DF, possui coleções mobiliárias tão primorosas quanto sua arquitetura modernista. A arquiteta e designer Anna Maria Niemeyer, entre fins da década de 1950 e 1970, conduziu esses projetos personalizados próprios para o programa palaciano legislativo. A justa notoriedade do arquiteto Oscar Niemeyer, pai de Anna Maria, enquanto autor do projeto de arquitetura, maculou a valiosa colaboração de outros profissionais determinantes para a concepção do palácio-patrimônio. Este artigo objetiva trazer à luz a contribuição da designer por meio das coleções mobiliárias desenvolvidas para o Congresso Nacional nessas décadas. Metodologicamente, a investigação historiográfica desse mobiliário moderno se vale dos projetos originais (arquitetura e mobiliário), processos administrativos e artigos de Anna Maria Niemeyer na revista Módulo. Tal exame revelou dois tempos interiores: o momento singelo de inauguração em 1960, povoado por mobiliário correspondente, e o momento de revisita destes interiores com o mobiliário-arte de fins da década de 1970. Se a arquitetura exterior de Oscar Niemeyer se manteve monumental no curso destas duas décadas iniciais, o espaço interior monumentalizou-se tendo o mobiliário como um dos protagonistas. É necessário localizar a designer Anna Maria Niemeyer na historiografia do móvel moderno brasileiro e, como afirma Maria Cecília Loschiavo (2017), fazer a devida reparação histórica em sua contribuição.The National Congress Palace in Brasília has furniture collections as exquisite as its modernist architecture. Between the late 1950s and 1970s, Anna Maria Niemeyer led these personalized projects for the legislative palace program. The well-deserved notoriety of architect Oscar Niemeyer, Anna\u27s father, as the author of the architectural project, tarnished the valuable collaboration of other professionals who were instrumental in the palace\u27s heritage. This article aims to shed light on the designer\u27s contribution through the furniture collections de-veloped for the National Congress in these decades. Methodologically, the his-toriographical investigationof this modern furniture uses the original projects (architecture and furniture), administrative processes and articles by Anna in the magazine Módulo. This examination revealed two interior periods: the sim-ple moment of inauguration in 1960, populated by matching furniture, and the moment of revisiting these interiors with the art furniture of the late 1970s. If Oscar\u27s exterior architecture remained monumental over the course of these two initial decades, the interior space became monumentalized, with furniture playing a leading role. It is necessary to locate designer Anna Maria Niemeyer in the historiography of modern Brazilian furniture and, as Maria Cecília Loschiavo (2017) states, to make due historical reparation for her contribution
Reseña de Daniele Solvi (2024). Vite di Cristo e di Maria. Testi brevi dal XII al XV secolo. Magazzino mediolatino. Collana di testi e studi, 3
Full text linkReview of Daniele Solvi (2024). Vite di Cristo e di Maria. Testi brevi dal XII al XV secolo. Magazzino mediolatino. Collana di testi e studi, 3, Roma.
Author: Anna PeiratsReseña de Daniele Solvi (2024). Vite di Cristo e di Maria. Testi brevi dal XII al XV secolo. Magazzino mediolatino. Collana di testi e studi, 3, Roma.
Autora de la reseña: Anna Peirat
Anna Vertua Gentile
No full textThe headword explains the biography and the contribution of the author Anna Vertua Gentile to the children's literatur
Anna Maria van Schurman (1607-1678) - Ocellus Niderlandów
Full text linkAnna Maria van Schurman was a seventeenth-century scholar, poet, and painter. Becoming proficient in many languages, she was greatly admired by her contemporaries. She wrote poetry, prose works, and produced paintings and engravings. Her best known text Dissertatio de ingenii muliebris ad doctrinam et meliores litteras aptitudine (1641) is dedicated to women’s rights to education. She also wrote De vitae termino (1639) and autobiography Εὐκληρία seu Melioris partis electio (1673). In the Eukleria she not only depicted her life, but also explained the reasons for joining the Labadists. Anna Maria van Schurman kept up correspondence with many people, for example, André Rivet (1572-1651), Marin Mersenne (1588-1648), Pierre Gassendi (1592-1655), Jean-Louis Guez de Balzac (1597-1654). The Calvinist theologian and the opponent of philosophy of René Descartes, Gisbertus Voetius (1589-1679) was a very important person in her life. Thanks to him Anna Maria van Schurman could study at the University of Utrecht. This article presents the biography and works of Anna Maria van Schurman. Its author pays special attention to her connections with philosophy, with which she began to get acquainted at the age of 11 by reading Seneca's writings. The basis for these considerations is source materials about Anna Maria van Schurman’s life, her works and selected letters.Anna Maria van Schurman to niezwykle ceniona przez sobie współczesnych siedemnastowieczna uczona, poetka, malarka, władająca kilkunastoma językami. Pozostawiła po sobie utwory poetyckie, pisma prozą, obrazy i ryciny. Najbardziej znany jej tekst to poświęcona problemowi edukacji kobiet Dissertatio de ingenii muliebris ad doctrinam et meliores litteras aptitudine (1641). Napisała również: De vitae termino (1639) oraz dzieło Εὐκληρία seu Melioris partis electio (1673), w którym opisała swoje życie oraz przedstawiła obronę swego przystąpienia do labadystów. Anna Maria van Schurman prowadziła także rozległą korespondencję. Adresatami jej listów byli między innymi: André Rivet (1572-1651), Marin Mersenne (1588-1648), Pierre Gassendi (1592-1655), Jean-Louis Guez de Balzac (1597-1654). Bardzo istotną postacią w życiu Anny Marii van Schurman był kalwiński teolog, przeciwnik filozofii René Descartes’a, Gisbert Voetius (1589-1679). Dzięki niemu mogła studiować na Uniwersytecie w Utrechcie. Artykuł przedstawia sylwetkę Anny Marii van Schurman, zwracając szczególna uwagę na jej związki z filozofią, z którą zaczęła zapoznawać się w wieku lat 11 dzięki lekturze pism Seneki. Podstawą rozważań są materiały źródłowe o życiu Anny Marii van Schurman, jej pisma oraz wybrana korespondencja
In his lacrimis delectabar. Piangere e ridere in Ildegarda di Bingen
No full textL’articolo analizza, attraverso un’indagine lessicale, medica, teologica e simbolica, le forme e i significati del pianto e del riso nell’opera di Ildegarda di Bingen. La monaca benedettina, figura eminente del XII secolo, interpreta queste manifestazioni affettive come espressioni della complessa unità psicofisica dell’essere umano, situata tra caduta e redenzione, natura e grazia. Il pianto, oggetto di una riflessione articolata nei testi visionari, medico-scientifici e morali, assume valenze molteplici: da sintomo fisiologico a segno di compunzione, da strumento ascetico a prefigurazione escatologica. Similmente, il riso è considerato nella sua ambivalenza originaria, capace di esprimere sia la gioia edenica sia la corruzione postlapsaria, fino a trovare nella letizia spirituale una forma ricomposta e trasfigurata. Ildegarda distingue il riso smodato, animale e dannoso, dalla vera iucunditas, frutto della sinergia armonica tra anima e corpo. In tale prospettiva, l’autrice mostra come l’antropologia ildegardiana, fondata su una visione integrale e dinamica dell’essere umano, attribuisca a lacrime e sorriso un valore terapeutico, morale e salvifico, in consonanza con la tradizione monastica e la visione cosmica della creazioneThis article examines the meanings and functions of weeping and laughter in the work of Hildegard of Bingen through a multidisciplinary lens that includes lexical, medical, theological, and symbolic analysis. The twelfth-century Benedictine nun interprets these affective expressions as manifestations of the complex psychosomatic unity of the human being, positioned between fall and redemption, nature and grace. Weeping, addressed across her visionary, medical-scientific, and moral writings, assumes a wide range of meanings: from physiological symptom to sign of compunction, from ascetic tool to eschatological anticipation. Similarly, laughter is explored in its original ambivalence—as capable of expressing both Edenic joy and postlapsarian corruption—before being reconfigured as spiritual iucunditas, the fruit of a harmonious synergy between soul and body.
Hildegard sharply distinguishes between excessive, animalistic, and harmful laughter and the true joy that arises from spiritual integrity. In this framework, the author demonstrates how Hildegard’s anthropology—integral and dynamic—assigns tears and laughter a therapeutic, moral, and salvific function, in continuity with monastic tradition and within the broader cosmic vision of creation
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