151 research outputs found
Barcelone, ville capitale de la principauté Catalogne scituée sur la mer Mediterranée
No full text1 mapa. - Aquesta perspectiva de Barcelona des del mar va ser utilitzada en moltes obres. Aquesta és una reedició de Jacques Chereau, datada probablement el 1750.47 x 65 c
Barcelone, ville capitale de la principauté Catalogne scituée sur la mer Mediterranée
No full text1 mapa. - Aquesta perspectiva de Barcelona des del mar va ser utilitzada en moltes obres. Aquesta és una reedició de Jacques Chereau, datada probablement el 1750.47 x 65 c
Elements d'orfevrerie : divisés en deux parties de cinquante feuilles chacune /
No full textNumbering of plates 51 & 52 corrected in MS from 15 & 25.Plates 70-72, 78, 81-82, 86 depict designs by Jacques Roëttiers, Jr.First leaf: title - 2nd leaf: dedication to Machault, controlleur général des finances - 3rd leaf: Germain's Avis - 4th leaf: Table des desseins. Second pt. has special added title leaf.Divided in 2 pts. priced at 12 livres apiece, each with 50 plates.Etched throughout. The plates are chiefly by Jean Jacques Pasquier, some by Jean Charles Baquoy.Mode of access: Internet.Copy 4 has Germain's MS signature at foot of title, pt. 1, indicating first issue. "Auec priuilege du Roy" also appears in MS on the title of pt. 1, but it appears in the plate on title of pt. 2. Each plate is hand-stamped C.P.R. Plate 36 is a cancel. Bound in at end are 5 unidentified etchings depicting 2 hanging lamps and 3 candelabra. Binding: goatskin, mottled in lozenge pattern, faint pattern pricked in blind on both boards; spine gilt tooled, abbreviated title on red label; page edges red; holes from earlier stab sewing.Copy 3 comprises text leaves and plates from a collotype facsimile, perhaps Edouard Rouveyre's Paris ed. of ca. 1889. Both pts. of the original from which the copy was made are stamped throughout: Bibliothèque Impériale Est; and a second stamp appears on the title leaves: Acquisition no. 1961. These stamps identify the copy as that of the Bibliothèque nationale de France, Département des Estampes Le-54-4. Pt. 1 of this copy is first issue, with Germain's signature on the title. Pt. 2 is a later issue, however, with "et chés la ve. de F. Chereau rue St. Jacques aux 2. piliers d'or" added to the title. The collotypes are tipped onto loose sheets of stock 27.5 x 19.5 cm; some bear property stamp of the Parisian jewelers A. Risler & Carré. Now in clamshell box covered in buckram.Copy 2 has "et chés la ve. de F. Chereau rue St. Jacques aux 2. piliers d'or" added in the plate below imprint on title of pt. 1, indicating a later issue. The addition is not present on the title of pt. 2. It apparently refers to the widow of François Chéreau II (Geneviève-Marguerite, née Chéreau, active as print seller 1755-1768), rather than to that of François Chéreau I (Marguerite, née Caillou, active 1729-1755); see H. Cavalié, Pierre Germain dit le Romain (site Thèses de l'Ecole des chartes, consulted 2/20/09). Binding: 19th-century green goatskin, signed by Reymann; title, author & imprint on spine in gilt; edges of boards and turn-ins gilt tooled; page edges gilt and marbled; striped ribbon place marker.Copy 1 bound in mottled calfskin; triple fillets in gilt along margins of boards, fleurons at corners; spine gilt tooled, abbreviated title on maroon label; page edges mottled blue; holes from earlier stab sewing. Signature on t.p. of Berbigié. On verso of plate 99 is careful pencil copy in reverse of plate 100, facing. Unidentified etched designs for neoclassical candlesticks mounted on versos of plates 66-71, 90-91; signature on verso of 91 (C. Racine?). Additional folded candlestick design bound facing plate 71.Copy 1 bound with: Livre d'ornemens / Pierre Germain (Paris : Chez l'auteur, 1751)
Celluloid Ring of the Nibelung: Wagner “Cinematified”, or on “Cinematographic” Stagings of Wagner’s Musical Dramas
No full textAutor skupia się na omówieniu klasycznych i współczesnych inscenizacji dramatów muzycznych Ryszarda Wagnera, realizowanych przez mistrzów kina i nawiązujących do teorii oraz praktyki niemieckiego kompozytora, swoimi pracami niejako przepowiadającego istnienie kina i myślącego kategoriami estetycznymi rozwijanymi później przez twórców X muzy. Inscenizacje dzieł Wagnerowskich są swego rodzaju spłatą długu Wagnerowi i nie tyle rekonstruują świat wizualno-muzycznych wizji twórcy Lohengrina, wykorzystując język filmu, ile po prostu wypełniają postulat niemieckiego kompozytora o stworzeniu dzieła „totalnego”. W tekście są omówione wagnerowskie inscenizacje takich mistrzów kina, jak Eisenstein, Visconti, Chéreau, Syberberg i Bill Viola, którzy w swych poszukiwaniach artystycznych realizowali idee Gesamtkunstwerku. Kletowski ukazuje proces „ufilmowienia” współczesnej sztuki operowej (przede wszystkim dzieł Wagnera, choć nie tylko), która na zasadzie „transakcji zwrotnej” wpływa również na kształt współczesnej X muzy, nierzadko nawiązującej do wzorców operowych.The author discusses classic and contemporary staging of Richard Wagner’s musical dramas, made by the masters of cinema and referring to the theory and practice of the German composer, who in his work somehow foresaw the existence of the cinema and who thought in the aesthetic categories later developed by the creators of the Tenth Muse. Staging of the works of Wagner are a repayment of a debt to the great composer. They do not so much reconstruct the visual and musical vision of the composer of the Lohengrin, using the language of film, but fulfil Wagner’s postulate that a total work of art can be created. In the text the author discusses productions of Wagner’s work by such masters of the cinema as Eisenstein, Visconti, Chereau, Syberberg and Bill Viola, who in their artistic pursuit realised the ideas of Gesamtkunstwerk. Kletowski shows the process of “cinematifying” of contemporary art of opera (especially the works of Wagner, but also others), which art using the principle of “reverse transaction” also shapes the modern Tenth Muse, that often refers to elements of opera
Disciplining the Spectator: Subjectivity, the Body and Contemporary Spectatorship
No full textIn this thesis the author argues that although questions of the spectator’s corporeal engagement with film are much neglected by film theory, the body is nevertheless a central term within contemporary cinema, in its mode of address, as a locus of anxiety in media effects debate, and as site of disciplinary practices. And while the thesis begins by demonstrating both the socially and historically constructed nature of spectatorship, and the specific practices that work to create contemporary cinema’s corporeal address, the latter half of the dissertation devotes itself to revealing the regulatory implications of this physical address. That is, the author shows that cinema’s perceived capacity of affect the body of the spectator is a profound source of cultural anxiety. But more importantly, through an analysis of the films Funny Games, Irréversible, Wolf Creek, and the genre of ‘torture porn’ more generally, what is revealed in these final chapters is that the regulation of cinema in the contemporary era is less a question of the institutionalised censorship of texts, and more a question of regulating the ‘self’. In this respect, the author demonstrates the specific disciplinary practices that attempt to present the problem of violent, and sexually violent, imagery not as a textual issue per se, but a question of the formation of appropriate spectatorial relations. Moreover, this study begins the process of teasing out the ways in which the contemporary spectator is induced to see the problem of media violence as one that can be resolved through what
Foucault would term, techniques of the self
Combined approaches to flexible fitting and assessment in virus capsids undergoing conformational change
No full textFitting of atomic components into electron cryo-microscopy (cryoEM) density maps is routinely used to understand the structure and function of macromolecular machines. Many fitting methods have been developed, but a standard protocol for successful fitting and assessment of fitted models is still to be agreed upon among the experts in the field. Here, we created and tested a protocol that highlights important issues related to homology modelling, density map segmentation, rigid and flexible fitting, as well as the assessment of fits. As part of it, we use two different flexible fitting methods (Flex-EM and iMODfit) and demonstrate how combining the analysis of multiple fits and model assessment could result in an improved model. The protocol is applied to the case of the mature and empty capsids of Coxsackievirus A7 (CAV7) by flexibly fitting homology models into the corresponding cryoEM density maps at 8.2Å and 6.1Å resolution. As a result, and due to the improved homology models (derived from recently solved crystal structures of a close homolog – EV71 capsid – in mature and empty forms), the final models present an improvement over previously published models. In close agreement with the capsid expansion observed in the EV71 structures, the new CAV7 models reveal that the expansion is accompanied by ∼5° counterclockwise rotation of the asymmetric unit, predominantly contributed by the capsid protein VP1. The protocol could be applied not only to viral capsids but also to many other complexes characterised by a combination of atomic structure modelling and cryoEM density fitting
Segmenta nobilium signorum e statuarū : quæ temporis dentem inuidium euasere Urbis æternæ ruinis erepta, typis æneis ab se commissa perptuæ uenerationis monimentum /
No full textThe images vary in reversal which, together with other variations, encourage the conclusion that the work was printed and reworked over a period of time to meet public demand and that possibly other variations exist in copies held elsewhere. Cf. Brunet.Perrier's dedication precedes title which is repeated as the heading for the index on the final two leaves.Engraved frontispiece (t.p.) impression 24 x 15.5; other plate marks vary somewhat according to shape of sculpture depicted. The two folded plates are ca. 24 x 38 cm. and 32 x 25 cm.Brunet cites a differing title with the same date: Icones et segmenta nobilium signorum et statuarum quæ Romæ extant, delineata atque in ære inciso anno 1638.Library's suites bound: 1, 35 x 25.5 cm.; 2, 30 x 21.5 cm.; 3, 33 x 26 cm.; 4, 31 x 22 cm.; 5, 37.5 x 26 cm.; 6, 31 x 23 cm.Brunet, J.-C. Manuel,Le Blanc, Ch. Manuel,Robert-Dumesnil, A.-P.-F. Peintre-graveur franc.,Mode of access: Internet.Copy 1 vellum-bound with S IIII 13 on recto and verso of t.p.; c. 2 bound in pig; c.3 has bookplate of Theodore Besterman; c. 4 vellum-bound, has 2 sets of numbering inside back cover which are introduced by:" V.A." c. 5 has bookplate of Thomas Boswell Esq.r of Blackadder.Copy 4 has the common frontispiece without additional privilege or printing information, has the backwards 3 under the right facing Laocoon, and a reworked index (bound in after the t.p.) dated An. M.D.C.LIII on the 2nd page. Copies 5 and 6 are incomplete, copy 5 lacking a frontispiece but with the Laocoon plate facing right with the date showing the backward 3. The index has been reworked,and on the 2nd leaf dated An. M.D.C.LIII. The 84 plates of copy 6 are bound in some disorder and with numbering differences when compared with the other copies and with Robert-Dumesnil's arrangement. It also lacks the index. The frontispiece presents the information in first issue context but with some differences in fine detail in the illustrative portion. Laocoon faces right and the date has the backward 3.Library has 6 variations of the work with the same t.p. including date (c. 5 lacks a t.p.) with variations as described by Robert-Dumesnil. Copies also vary as to by-line at the base of Laocoon, plate I: Franciscus Perrier Burgund. delin. et sculp. Romae superior. licentia 1638. Four copies have the 3 printed backwards, unrelated to issue differences of t.p.s. Copy 1 coincides with first issue without any additional remarks under the frame of the symbolic illustration of the frontispiece, and with "1638" under the Laocoon (which faces left). Copy 2 has below the frontispiece frame: Romae superiorum permissu. Cum privilegio summi Pontificis, Robert-Dumesnil's 2nd state, with the Laocoon plate similar to the first with "1638". Details on both engravings similar. Copy 3 frontispiece displays the privilege under the date in 3 lines, and under the frame but within the impression: A Paris; Chez la veusue de deffunct Perier, rue des fossez St. Germain vis a vis l'Hostel de Sourdy. The platemark has been lowered to accommodate: A Paris chez la Ve. de F. Chereau graveur du Roy rue St. Jacques aux deux pilliers d'or avec privilege du Roi. Laocoon plate again faces left with date "1638"
European Archives of Psychiatry and Clinical Neuroscience
No full textThe aim of the present study was to explore the characteristics of psychotropic treatment and of psychosocial functioning associated with self-reported medication adherence in persons with psychosis engaged in rehabilitation. The study was performed in the REHABase cohort including persons referred to a French network of psychosocial rehabilitation centers. Treatment adherence was assessed using the Medication Adherence Rating Scale (MARS). The associations between MARS score (categorized as “low” < 7 vs. “high” ≥ 7) and functioning or psychotropic treatment characteristics were explored using multivariate analyses in 326 participants with schizophrenia spectrum disorders. Regarding psychotropic treatment, high anticholinergic load was the only characteristic associated with poor medication adherence (adjusted OR, aOR 1.98, 95% CI 1.07–3.66). Regarding functioning measures, participants with poor medication adherence were more likely to present with lower stage of recovery (aOR 2.38, 95% CI 1.31–4.32), poor quality of life (aOR 2.17, 95% CI 1.27–3.71), mental well-being (aOR 1.68, 95% CI 1.03–2.72) and self-esteem (aOR 1.74, 95% CI 1.05–2.87), and higher internalized stigma (aOR 1.88, 95% CI 1.09–3.23). Self-reported poor medication adherence is a marker of poor functioning in persons with psychosis. The MARS is a quick and simple measure of adherence that may be helpful in clinical and rehabilitation settings to identify persons with specific rehabilitation needs
Dynamic perceptual feature selectivity in primary somatosensory cortex upon reversal learning
No full textDo cortical neurons stably represent stimulus features in different contexts? Here, using calcium imaging, the authors show that texture selectivity of individual neurons is dynamic during reversal learning. For a subclass this is contingent on the associated reward and forecasts the onset of learning
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