Academic literature on the topic '1887-1953'

The Levant is a hot spot of biodiversity, even for Odonata. Approximately 90 Odonata species were recorded for the Levant and 48 from Lebanon. Lebanon, as a central part of the Levant, was visited in 2022 and 2023 for searching dragonflies. Thirty four species including five of six Levant endemic Odonata: Calopteryx hyalina Martin, 1909, Calopteryx syriaca Rambur, 1842, Coenagrion syriacum (Morton, 1924), Pseudagrion syriacum Selys, 1887, Gomphus davidi Selys, 1887 as well as populations of the recently described Cordulegaster cilicia Schneider et al., 2021 were found. Ceriagrion georgifreyi Schmidt, 1953 was recognized as new for Lebanon and increases the number of Odonata to 49. The dramatic decline of the Levant endemic Odonata caused by habitat loss and destruction is discussed.

Se incluyen 10 especies de pirálidos registrados por primera vez para la fauna de la república de Daguestán (Nordeste del Cáucaso, Rusia): Praeepischnia iranella Amsel, 1953; Eurhodope rosella (Scopoli, 1763); Ancylosis dumetella Ragonot, 1887; Euchromius bleszynskiellus Popescu-Gorj, 1964; Crambus monochromellus Herrich- Schaffer, 1855, Xanthocrambus lucellus (Herrich-Schäffer, 1848); Evergestis manglisalis Erschoff, 1877; Hellula undalis (Fabricius, 1794), Udea olivalis ([Denis & Schiffermüller], 1775) y Pyrausta aerealis (Hübner, 1793).

<p>Entre 1934 y 1941, Eric Mendelsohn (Allestein, 1887; San Francisco, 1953) ideó y construyó el Centro Médico Universitario Hadassah en el Monte Scopus, Jerusalén; una obra inscrita en su contexto cultural, político, económico, social y geográfico, y con amplia significación social. El artículo aborda algunas relaciones que Mendelsohn pone en juego y serán decisivas: relaciones entre expresión y organicidad, dinámica y función –expresión y exigencia–, arquitectura y lugar, entre intelecto, inspiración y temperamento, entre imagen y realidad arquitectónica.</p>

The type material of three Spanish and two Moroccan taxa of Curculionidae is studied and its identity is assessed, resulting in the following new synonymies: Sciaphilus Schoenherr, 1823 = Elevatosomus Zumpt, 1933; Sciaphilus costulatus Kiesenwetter, 1852 = Eusomus (Elevatosomus) freyi Zumpt, 1933; Pachyrhinus Schoenherr, 1823 = Parisodrosus Voss, 1936; Pachyrhinus javeti (Desbrochers, 1871) = Polydrosus (Parisodrosus) balearicus Voss, 1936; Larinus Dejean, 1821 = Rungsonymus Hoffmann, 1950; Larinus (Larinus) buccinator (Olivier, 1807) = Rungsonymus ambiguus Hoffmann, 1950; Lixoglyptus Reitter, 1916 = Resmecaspis Hoffmann, 1959; Lixus (Lixoglyptus) spartii Olivier, 1807 = Mecaspis (Resmecaspis) pecoudi Hoffmann, 1959; Neseremnus Marshall, 1921 = Kocheriana Hoffmann, 1953. Lixoglyptus Reitter, 1916 is raised to genus (stat. prom.) and transferred from Lixini to Cleonini (new placement). Three species are transferred to other genera: Lixoglyptus spartii (Olivier, 1807) comb. n., Lixoglyptus mogadorus (Heyden, 1887) comb. n. and Neseremnus grassellyi (Hoffmann, 1953) comb. n. A lectotype is designated for Polydrosus (Parisodrosus) balearicus Voss, 1936.

This paper analyzed the variations of two air temperature indices, diurnal temperature range (DTR) and annual temperature range (ATR), calculated based on observations at the Zagreb Grič Observatory over a period of 133 years (1887–2019). In intense climate changes strongly manifested by the increased air temperature, these two climate indices were determined to significantly impact human health and the environment. This effect is especially evident in urban areas. The Zagreb Grič Observatory is located in the center of Zagreb and has not changed its location during the observed period. It has a long homogeneous series of climatological observations, enabling a detailed study of climate variation in the city, which is strongly influenced by various urbanization processes. In 133 years, both of the analyzed indicators showed a statistically insignificant downward trend. The Rescaled Adjusted Partial Sums (RAPS) method revealed statistically significant differences in DTR’s time series between three sub-periods: 1887–1953, 1954–1989, and 1990–2019. The time series of ATR during 133 years behaved statistically differently in four sub-periods: 1887–1905; 1906–1926; 1927–1964; and 1965–2019. The analysis of monthly values of DTR showed that the DTR values are the highest in the warm part of the year, from May to August, when they are twice as high as those during the cold period from November to December. With an increase in precipitation, the DTR values decrease, while they increase as the mean annual temperature increases.

California del Sur, muy alejada de las tradiciones y los duros climas del norte de Europa y del Este de los Estados Unidos se convirtió en un campo de pruebas ideal para diseños donde la vida en el exterior era tan importante como la vida en el interior. Uno de los pioneros de esta arquitectura fue R. M. Schindler (1887-1953), que llegó a Los Ángeles en diciembre de 1920 y que vivió y trabajó en California del Sur hasta su muerte. Schindler produjo una obra, tanto escritos como edificios, de una originalidad sorprendente, que pasó mayoritariamente desapercibida durante su vida pero que ahora deberíamos reconocer por su relevancia en el desarrollo de la arquitectura del siglo XX.

"Les biologistes roumains notables suivants, classés par année de naissance, ont subi des préjudices physiques et/ou moraux majeurs tels que l'interdiction d'exercer leur profession, la privation des droits civils, l'internement dans des prisons ou des colonies de travail, la peine pouvant aller jusqu'à la mort, l'émigration, souvent sans précision accusations ou tout jugement de tri ; leur ""crime"" était d'avoir une attitude, un comportement et des croyances anticommunistes explicites ou implicates: Alexandru Borza (1887-1971) Constantin Motăş (1891-1980) Ioan Gh. Botez (1892-1953) Teodor Buşniţă (1900-1977) Constantin S. Antonescu (1902-1981) Zaharia Popovici (1907- ? ) Victor Angelescu (1912-2002) Petre M. Bănărescu (1921-2009) Nicolae Al. Boşcaiu (1925-2009) Radu Racottă (1930) Denis Buican (1934) Ştefan Racoviţă (1936)."

Svend Larsen: Kindred souls. Svend Dahl and Wilhelm Munthe on the professionalisation of academic librarianship Svend Dahl (1887–1963) and Wilhelm Munthe (1883–1965) were prominent figures in Scandinavian and international librarianship in the first part of the 20th Century. From 1922–1953, Munthe was head of Oslo University Library which was also Norwegian national library. Internationally, he is known as the author of American Librarianship from a European angle. An attempt at an examination of policies and activities (1939) and as president of the international library federation IFLA (1947–1951). Svend Dahl was head of Copenhagen University Library 1925–1943 and head of the Royal Library and national librarian 1943–1952. Internationally, he is known for his many publications such as the History of the Book (Danish, English, French, German, Spanish and Swedish editions). Dahl and Munthe exchanged just under 200 letters between 1916 and 1953. These letters reveal their views concerning academic librarianship and the need and the ways to professionalise it. In the exchange of letters, the two men also discussed other topics, such as education, internationalisation, and the separation of library and university.

Phylogenetic relationships of two morphologically similar scolopendrid genera, Rhysida Wood, 1862, and Alluropus Silvestri, 1912, were investigated based on broad-scale taxonomic sampling from SE Asia, India and Australia. Morphological revision and molecular phylogenetics using three loci validate seven Rhysida species in SE Asia and Australia: R. lithobioides (Newport, 1845), R. longipes (Newport, 1845), R. immarginata (Porat, 1876), R. nuda (Newport, 1845), R. carinulata (Haase, 1887), R. singaporiensis Verhoeff, 1937 and R. polyacantha Koch, 1985. The nominal SE Asian species R. leviventer Attems, 1953 and R. marginata Attems, 1953 are placed in junior subjective synonymy with R. lithobioides and Alluropus calcaratus (Pocock, 1891), respectively. The monotypic genus Alluropus is redescribed, molecular phylogeny recovering it nesting together with Indo-Australian Rhysida. Taxonomic revision reassigned R. calcarata Pocock, 1891 to Alluropus based on its morphological and molecular similarity to the type, A. demangei Silvestri, 1912, the differences between putative species being sexual variation. Two morphologically distinct allopatric populations of A. calcaratus, comb. nov. (= A. demangei, syn. nov.) were found in the Indochina subregion. Phylogenetic relationships in Otostigminae remain unsettled because clades within several genera lack significant support, although Rhysida consistently falls into two clades that are not each other’s closest relative.

Rudolph Michael Schindler (1887–1953) designed a beach house for Henry Braxton and Viola Brothers Shore in 1930. The house was to have been sited on Ocean Front Walk, Venice, Los Angeles [1]. It was never built, but remains a paper project. In the architectural drawings archives at University of California, Santa Barbara, there are both sketch plans and detailed plans for four levels: the ground floor, the main floor, the balcony floor and the roof level. There are drawings for each of the four elevations as well as sections. Constructional details are provided on five sheets. All told there are 13 extant drawings. In his signature upper case, Schindler typed a brief written description of the house [Table 1].

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1993.
Includes bibliographical references (leaves 176-186).
This paper examines the creative persona of Erich Mendelsohn's seemingly incompatible bodies of architecture in Europe, Palestine and the U.S. The limits of existing formal analysis to explain his architectural shifts were the impetus for investigating the architectural position that facilitated not only Mendelsohn's iconic architecture in Germany, but its appropriation to Palestine as well. Beside his artistic ambiance, is also Mendelsohn's religious faith, national identity and political convictions. Mendelsohn was part of the Jewish post-assimilated generation in Germany - this experience is extended by Mendelsohn to the art of building, which was facilitated intellectually by Martin Buber's (early) teaching about the creative Jewish yearning for unity. The paper focus on how Mendelsohn's consistent architectural and political position discloses itself first in the industrial West (Germany), where it engaged the striving architectural debated of the period, and then in the Orient. In Palestine, where he took part in the "cultural Zionist" agenda, he remolded Modern Architecture into a non- Western country.
by Alona Nitzan-Shiftan.
M.S.

[EN] Pedro Sosa López (1887-1953) was a composer, Harmony teacher and headmaster of the Valencia Music Conservatory. As an author, his early success, thanks to the pasodoble "Lo cant del valencià", made him a well-known person in the Valencian world of music bands, although there are lots of followers who would recognise this piece without knowing who the author was. Within this work, we have covered every single field of Pedro Sosa, which is why we can divide it in three parts: The first one focuses on his biography. We find his very beginnings in the city of Requena, although he soon moved to Valencia, where he was trained as a musician, mainly in the Conservatory, and later he set up his home with his wife and children. The second part of our project focuses on his job as a teacher, where he had the chance to take part in the training of some of the Valencian musicians with the greatest prestige in the twentieth century, such as Manuel Palau, José Mª Cervera Lloret, Antón García Abril, Miguel Asins Arbó, Leopoldo Magenti, Mª Teresa Oller, José Ferriz, etc. His inclination for a well-done job, led him to get different jobs related with the Valencian musical world, becoming a leading figure in the defense of the labour rights of musicians. However, his most important role was when he managed the Conservatory of Valencia, where he carried out an important task in the modernization of the School. The third part takes up the bulk of our work, and it is devoted to Pedro Sosa's work as a composer. First of all, we have focused on cataloguing all his production. A later comprehensive analysis of each of his works has allowed us to understand his composition style through the musical language he used and to place him in a suitable historical time. Following at the beginning the path shown by Salvador Giner (1832-1911), we discover that Sosa is inspired by the Valencian folklore, although the use of a more advanced musical language lets him approach impressionist styles.
[ES] Pedro Sosa López (1887-1953) fue compositor, profesor de armonía y director del Conservatorio de Valencia. Como autor, su temprano éxito, gracias al pasodoble Lo cant del valencià, lo convirtió en una persona conocida en el ámbito valenciano de las bandas de música, aunque son muchos los aficionados que reconocerían esta obra sin saber quién fue su autor. En este trabajo, hemos querido abarcar todos los ámbitos de la figura de Pedro Sosa, por lo que podemos dividirlo en tres bloques: El primero de ellos se centra en su biografía. Encontramos sus orígenes en la ciudad de Requena, aunque se trasladó pronto a Valencia, donde se formó como músico, principalmente en el Conservatorio, y estableció posteriormente su domicilio familiar junto a su esposa e hijos. El segundo bloque de nuestro trabajo se centra en su labor profesional como docente, en la que tuvo la oportunidad de contribuir a la formación de algunos de los músicos valencianos de mayor proyección del siglo XX, como son Manuel Palau, José Mª Cervera Lloret, Antón García Abril, Miguel Asins Arbó, Leopoldo Magenti, Mª Teresa Oller, José Ferriz, etc. Su predisposición hacia el trabajo bien hecho, lo llevaron a ocupar diferentes cargos relacionados con la vida musical valenciana, convirtiéndose en una figura señalada en la defensa de los derechos laborales de los músicos. Pero el cargo más significativo que ocupó fue la dirección del Conservatorio de Valencia, donde realizó una labor importante de modernización del centro. El tercer bloque constituye el grueso de nuestro trabajo, y está dedicado a la obra compositiva de Pedro Sosa. En primer lugar hemos realizado la catalogación de toda su producción. Un posterior análisis exhaustivo de cada una de las piezas, nos ha permitido comprender su estilo compositivo a través del lenguaje musical que utilizó y colocarlo en el lugar histórico que le corresponde. Siguiendo inicialmente el camino marcado por Salvador Giner (1832-1911), encontramos que Sosa se inspira en el folclore valenciano, pero la utilización de un lenguaje musical más avanzado le permite acercarse a posturas impresionistas.
[CAT] Pedro Sosa López (1887-1953) va ser compositor, professor d'harmonia i director del Conservatori de València. Com a autor, el seu enjorn èxit, gràcies al pasdoble Lo cant del valencià, ho va convertir en una persona coneguda en l'àmbit valencià de les bandes de música, encara que són molts els aficionats que reconeixerien esta obra sense saber qui va ser el seu autor. En este treball, hem volgut comprendre tots els àmbits de la figura de Pedro Sosa, per la qual cosa podem dividir-ho en tres blocs: El primer d'ells se centra en la seua biografia. Trobem els seus orígens en la ciutat de Requena, encara que es va traslladar prompte a València, on es va formar com a músic, principalment en el Conservatori, i va establir posteriorment el seu domicili familiar junt amb la seua esposa i fills. El segon bloc del nostre treball se centra en la seua labor professional com a docent, en la que va tindre l'oportunitat de contribuir a la formació d'alguns dels músics valencians de major projecció del segle XX, com són Manuel Palau, José Mª Cervera Lloret, Antón García Abril, Miguel Asins Arbó, Leopoldo Magenti, Mª Teresa Oller, José Ferriz, etc. La seua predisposició cap al treball ben fet, ho van portar a ocupar diferents càrrecs relacionats amb la vida musical valenciana, convertint-se en una figura assenyalada en la defensa dels drets laborals dels músics. Però el càrrec més significatiu que va ocupar va ser la direcció del Conservatori de València, on va realitzar una labor important de modernització del centre. El tercer bloc constituïx el gros del nostre treball, i està dedicat a l'obra compositiva de Pedro Sosa. En primer lloc hem realitzat la catalogació de tota la seua producció. Una posterior anàlisi exhaustiva de cada una de les peces, ens ha permés comprendre el seu estil compositiu a través del llenguatge musical que va utilitzar i col¿locar-ho en el lloc històric que li correspon. Seguint inicialment el camí marcat per Salvador Giner (1832-1911) , trobem que Sosa s'inspira en el folklore valencià, però la utilització d'un llenguatge musical més avançat li permet acostar-se a postures impressionistes.
Sánchez Sánchez, G. (2016). "El compositor Pedro Sosa López (1887-1953): biografía, catalogación y análisis de su obra" [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61477
TESIS

La première partie de ce travail étudie le jaillissement de l'Ecole d'Aix dans le renouveau intellectuel du début du XXe siècle et la vie philosophique en France. La deuxième présente l'originalité de Maurice Blondel (1861-1949) dans l'Ecole d'Aix et par rapport à l'avènement de l'action comme problème philosophique -1893 : soutenance de thèse de Blondel intitulée "l'Action". La trosième aborde la spécificité de Jacques Paliard (1887-1953) dans l'Ecole d'Aix et par rapport à la philosophie de la conscience et au renouveau mystique dans l'Université française. L'Ecole d'Aix se caractérise par un réalisme intégral développé en une philosophie de l'action pour Blondel et en une philosophie de la conscience pour Paliard. Leur intuition commune se condense en une visée propre du singulier et du concret qu'exprime l'intelligibilité de l'agir. Elle s'explicite en un objet : expérience d'un élan reconduisant à l'expérience, en une attitude : attention à un dynamisme permettant de désimpliquer l'expérience en une ouverture : souci d'atteindre l'être explicitant l'expérience de ce qui échappe à l'homme. L'Ecole d'Aix se déploie en une philosophie de l'expérience, de l'insuffisance de la philosophie, de la médiation. Cette intuition se développe chez Blondel dans l'analyse de l'acte libre, chez Paliard dans celle de la perception en son rythme réflexif. Partant d'une phénoménologie de l'action, la philosophie de l'action de Blondel découvre une philosophie de la connaissance, se révèle une philosophie de la médiation par la méthode d'immanence qu'elle implique. La phénoménologie de la perception se transforme chez Paliard en une philosophie de la perception caractérisant la philosophie de la réflexion. Que ce soit par le consentement blondélien au don du surnaturel ou par la vie mystique et l'ouvertue paliardienne au mystère, l'Ecole d'Aix découvre l'intériorité humaine et sa réalisation par la complémentarité des causalités humaine et divine.

Notre thèse porte sur l'étude de la colonisation pénale de la Guyane française par des relégués internés au bagne colonial de Saint-Jean-du-Maroni. La loi sur la relégation des récidivistes votée le 27 mai 1885 entraîne l'exil à perpétuité au sein d'une colonie de délinquants et de criminels récidivistes. De 1887 à 1953, la Guyane va ainsi recevoir plus de 17 000 condamnés destinés à devenir des colons et à s'intégrer au tissus économique et social de la colonie. Les cibles de cette loi sont essentiellement des délinquants récidivistes condamnés pour des délits de vol simple, d'escroquerie et de vagabondage et leur "élimination sociale" repose sur une mécanique unique dans l'histoire du droit pénal français. La relégation aménage en effet une "présomption irréfragable d'incorrigibilité" qui repose sur un quantum, c'est-à-dire sur un nombre de peines qui, si elles sont toutes inscrites au casier judiciaire d'un condamné récidiviste, entraînent le prononcé obligatoire pour le magistrat de la peine de la relégation. Cette loi détermine ainsi un seuil positif qui consacre l'existence de criminels et de délinquants dits incorrigibles. Notre travail repose donc d'une part sur l'analyse de la construction de la catégorie pénale de criminels incorrigibles que la relégation vient consacrer en droit à partir de 1885 et s'articule d'autre part sur les modalités d'application de cette mesure sur le sol de la métropole puis sur celui de la colonie. Le processus d'élaboration de la relégation s'effectue au sein d'une configuration politique qui conduit les législateurs à subir de multiples pressions et à tenir compte des conclusions dégagées par un grand nombre d'acteurs extérieurs à la sphère parlementaire. L'origine de cette loi est ainsi fortement conditionnée par des experts du crime et des peines, par des magistrats et par des statisticiens qui vont construire dans leurs domaines d'activité respectifs une représentation de la criminalité qui repose sur une distinction fondamentale à partir de la seconde moitié du XIXe siècle : le partage entre criminels d'accident ou d'occasion et criminels d'habitude ou incorrigibles. Ces derniers correspondent à tous ceux que la pénalité classique, c'est-à-dire l'emprisonnement, ne parvient plus à "corriger" et les multiples récidives dont ils sont coupables manifestent aux yeux des législateurs leur dangerosité avérée. Dans ce schéma, la relégation permet de garantir à la métropole sa sécurité en les exilant hors d'elle et permet d'espérer leur relèvement grâce à un changement de "milieu" salvateur. Mais la relégation, en étiquetant comme incorrigibles tous les condamnés qu'elle atteint, ne manque pas de les signaler comme tels sur le sol de la colonie. Le stigmate de l'incorrigibilité poursuit ainsi les relégués en Guyane et, partagé par les acteurs en charge de les condamner en métropole, il est également partagé en Guyane par les acteurs en charge de faciliter et d'organiser leur réinsertion. Loin de faciliter leur installation sur place, la relégation s'apparente ainsi à une condamnation aux travaux forcés et les relégués demeurent une main-d'œuvre essentiellement employée aux besoins d'un bagne colonial.

The leading figure of Erich Mendelsohn has been the subject of extensive and in-depth researches, both for his importance as an architect as for his role in the history of modern design. Conversely, not much has been written on his background, his thinking and “what we could define” his intellectual world. It is therefore very interesting analyzing what lies behind his projects and investigating the `¡”connection between human and artistic values”. The thesis hence begins with looking into his childhood, in a Jewish family integrated into the Prussian-German culture and located in Allenstein. This peculiar enclave is key in the development of the well-established personality of an “integrated dissenting” or -as he defined himself- an “Eastern German”. After giving up university twice (International Trade and Law), the young Erich settles for studying Architecture, against the will of his parents, and answering his personal doubts that were leading him towards studying painting. He studies Architecture in Berlin and then in Munich. In both cities, he gets in touch with the art establishment and its leading personalities, following his artistic interests while pursuing his university degree. His sentimental relationship with the violoncellist Luise Maas, which will soon become his wife, is his gateway to the contemporary art scene as well as the one to the high bourgeoisie. This sociocultural environment shapes his first artistic reflections and architectural projects. While supremely confident in his artistic skills, the young Mendelsohn starts building his intellectual world’s roots: he interprets Lessing, Nietzsche and Buber’s writings; he explains Hildebrand and studies Worringer and Cohn-Wiener. These readings and the travels undertaken in between 1913 and 1914 affect his ideas on monumental architecture and concrete. In this period, he begins drawing: a creative process, which has its outburst in the summer of 1917, when facing the threats of war in the trenches. In the same period, he develops his theory of “architectural revelations, a process that will follow him throughout his life and that will soon translate into a real life construction: the Einstein Tower, an institute dedicated to the relativity theory for his friend Erwin Freundlich. The path from the architect’s conception to the final execution will take 3 years. During this time, Mendelsohn will go through not less than six design phases in order to find a solution to express the construction’s purpose through its shape and the adequate material (it seems made of concrete but it is built with of a mixture of bricks and concrete). In 1920 the Einstein Tower is finally built, an emblematic work for the history of modern architecture. At the same time, the Tower represents a milestone in both the architect’s professional and personal life. This construction ushered his instant career while closing his first creative phase: it is a considerably different work compared to those the architect will realize later on. This is the reason why the reception of the Einstein Tower in literature has been different in each moment and has been directly connected to the changing evaluation of Erich Mendelsohn’s overall work.
La figura de Erich Mendelsohn, tanto por su importancia como arquitecto como por su papel en la historia del diseño moderno, ha sido objeto de amplios y profundos estudios. Poco, en cambio, se ha escrito sobre su formación, su pensamiento, su -podríamos decir- mundo intelectual. Resulta entonces muy interesante analizar lo que está detrás de sus proyectos, buscar la «conexión entre los valores humanos y artísticos». En la tesis, por lo tanto, se comienza mirando a su infancia, en el seno de una familia judía asimilada a la cultura alemana prusiana, en la ciudad de Allenstein. Se trata de un enclave muy peculiar que contribuye a la formación de una bien definida personalidad: la de un “inconforme bien integrado” o, como él mismo se define, un “alemán oriental”. Después de abandonar dos carreras (la de comercio i la de derecho), el joven Erich, en contra del deseo de sus padres, decide estudiar arquitectura, dando así una respuesta a sus dudas personales que le empujan también a los estudios de pintura. Estudia arquitectura primero en Berlín luego en Múnich, y en ambas ciudades entra en contacto con los círculos artísticos y sus protagonistas, siguiendo de esta forma sus intereses artísticos de manera complementaria a la carrera universitaria. Su relación sentimental con la violoncelista Luise Maas, que pronto será su esposa, le abre las puertas no sólo de las esferas artísticas sino también de los salones de la alta burguesía. Es en este ambiente sociocultural que plasma sus primeras reflexiones artísticas y sus primeros proyectos arquitectónicos. El joven Mendelsohn con una profunda confianza en su capacidad artística echa en estos años también las raíces de su mundo intelectual: interpreta los escritos de Lessing de Nietzsche o de Buber, explica Hildebrand y estudia Worringer y Cohn-Wiener. Tanto estas lecturas como los viajes realizados en los años 1913 y 1914, influyen en sus ideas sobre una arquitectura monumental y de hormigón. Es justamente en esta época que empieza a dibujar: un proceso creativo que tiene su explosión cuando se enfrenta a los peligros de la guerra en las trincheras, en el verano de 1917. Allí es donde el arquitecto desarrolla su teoría de las “revelaciones arquitectónicas”, un proceso que le acompañará toda su vida, y que ya enseguida va a traducir en una obra concreta. Se trata de un instituto para su amigo Erwin Freundlich dedicado a la teoría de la relatividad, en el edificio que se llamará Torre Einstein. El camino desde la visión del arquitecto hasta la realización del proyecto, con una solución para expresar a través de la forma la función y con el material adecuado, necesita finalmente 3 años y no menos de 6 diferentes fases de diseño y acaba con un gran compromiso entre forma y material (parece hormigón, pero está construido de una mezcla entre ladrillo y hormigón). Es en 1920 cuando finalmente se construye la Torre Einstein, obra emblemática para la historia de la arquitectura moderna. La Torre representa también un hito en la vida profesional y personal del arquitecto, marcando el inicio de su fulminante carrera y al mismo tiempo el final de su primera fase creativa: se trata de una obra considerablemente diferente de todo aquello que el arquitecto realizará después. Es por eso que, desde su construcción hasta nuestros días, la recepción de la Torre Einstein en la literatura ha sido diferente en cada momento, y ha estado directamente conectada a la mudable valoración de la obra total de Erich Mendelsohn

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The present study is dedicated to Helena Kolody s work. During her lifetime she was a substantiated poet and has been considered the most important female voice in the poetry from Paraná, she produced a remarkable poetry and she was the precursor of determined forms in the Brazilian literary history. The religiosity as the central axis pervades Kolody s work to meet significant and deep relations toward the theme of love. In a last moment, by approaching the intrinsic relation between the poetry and the image, a parallel is traced between Helena s and the painter and poet Marc Chagall s work. The work outlines the particular way used by Helena Kolody to lead to a view of transcendence from an impossible love.
O presente estudo se dedica à obra de Helena Kolody. Poeta consubstanciada ainda em vida como a mais importante voz feminina da poesia paranaense, produziu uma poética marcante e foi precursora de determinadas formas na história literária brasileira. Tomando como eixo central a questão da religiosidade, perpassa-se a obra de Kolody encontrando relações significativas e profundas com a temática do Amor. Num último momento, abordando a relação intrínseca entre imagem e poesia, traça-se um paralelo entre a produção de Helena e a obra de Marc Chagall, o pintor-poeta. O trabalho delineia o modo particular como Helena Kolody conduziu uma visão de transcendência a partir de um amor impossível. Constatou-se que uma estrutura profundamente cristã sobressai-se no todo da obra Kolodyana.

William Lovell Finley was an American conservationist active in Oregon and California from 1894 to 1947. He was president of the Oregon Audubon Society and a field representative for the National Audubon Society. He also served as Oregon State Game Warden, State Biologist and as a Commissioner on the Oregon State Fish and Game Commission. He wrote for ornithology journals and popular magazines, was an early wildlife field photographer, and made wildlife films. This thesis examines the Finley's career from 1887 to 1911 to demonstrate how Finley, as a self-taught naturalist, forged a professional identity and became part of a social and professional network of conservationists. Using Finley's correspondence and published pieces the thesis presents a detailed account of his photography partnership with Herman T. Bohlman, a Portland plumber and artist, and of Finley's involvement in three ornithology organizations, the Northwest Ornithology Association, the Cooper Ornithological Club, and the National Audubon Society.

Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2013
The dissertation made in the context of the Drawing Master Degree with the theme: Uma caricatura de país (Caricature of a country), wants to investigate the history of caricature and its protagonists in Portugal, to create a practical work about social and habits caricature and has the purpose to study caricature and humour as an artistic expression. The caricatures introduced in the personal project want to contribute to the portuguese social criticism, portraying the everyday of portuguese people, idealizing typical characters with humour like contemporary Zé Povinhos. With a basis in a bibliographic review and in the critical observation of the originals, we wanted to search informations about the history of caricature in Portugal since the 19th century until now, analyzing lives and works of the main Portuguese caricaturists. We also developed a study about the history and the various definitions of caricature, of phisiognomics and humour, with a basis in the theories of the most relevant authors from Aristoteles to Freud. In the drawing practice, has been used the Nicolaides method, The Natural Way to Draw, with the purpose of exploring new ways to represent caricated characters and situations, focusing this method in a personal graphic expression. During the study and the realization of the theoretical work, the conclusion was thatcaricature passed through various transformations in time, it evolved artistically, it started being spread not just through newspapers, it gained a new space in the artistic scenery, conquering values that were closer to the artistic status. A caricatura ou o desenho humorístico tem a importante tarefa de retratar e criticar os problemas de uma sociedade. A sociedade contemporânea necessita da caricatura, para se rir de si própria, justificando-se, assim, o projecto humorístico final. The caricature or the humorous drawing has the important objective of criticizing and talking about the problems of a society. The contemporary society needs caricature to laugh of itself, justifying the final humoristic project

In this Master in Sculpture Studies we try to expose and analyze the question of space in sculpture, from the beginning of modernism to the present day, mentioning some close previous situations and following R. Krauss logic of expanded space in sculpture. In this sense, we look to a better understanding of how to transit from a closed space to a negative one, through the history of sculpture of the 20th century. Enunciating these same changes, focusing on the different approaches made before, from analyses of both artists thoughts, as well as artist’s deposition on writings and interviews among other sources. We wish above all, not loose sight of the relation’s between, artist, work of art and spectator, having has main concern the historical-conceptual dimension of the works of art in relation with space

The need to go deeper into the thinking about Painting has led us to the study of works which display features of differentiated cultures and pieces resulting from the career paths of artists in the global world. In a world, which has, for long been the result of contaminations, it is at the beginning of the 20th century that the outcome of travels, of cultures’ intersections, finds a strong materialization through the artistic avant-gardes, with movements like the Cubism or Dadaism. The European Ethnographic Museums, home of an endless source of identity pieces from the peoples of Africa, Oceania and the Americas, will bring about, both in the artistic field and in terms of theoretical conception, a new look at art. Along with an ethnocentric study of works external to European culture, it is with Carl Einstein that emerges an analysis focused on African sculpture and opposed to the evolutionary theory, which highlights the formal and primeval characteristics of the works. This analysis is the foundation of Carl Einstein’s approach to cubism. Considering the identification of non-western peoples with primitive people, we try to present a perspective on this concept, in order to accept primitive as a state of rupture, as a human component. Transposing the artistic avant-gardes and the concept of primitivism to Portugal, we notice that its influence was shown to be closer to art and to popular culture. With the theories of multiculturalism, interculturality and globalization we come to realize that the miscegenation of non-western peoples with European cultures will cause the proliferation of hybrid territories, identified by Homi Bhabha, Néstor García Canclini and Arjun Appadurai. Hybrid territories are fertile in artistic production, the outcome of the activity of artists who travel the global world, in a state of conflict and appeasement between their origins and the cultures that they absorb. The processes of photomontage and montage are expressed by the thought of Georges Didi-Huberman, based on Aby Warburg, for the simultaneous development of thought and knowledge by montage. This knowledge encompasses the study of Dadaist photomontage, the painting of Hannah Höch, the combine of Robert Rauschenberg and the assemblages of Allan Kaprow, within a framework of formal hybridity. With Allan Kaprow and Sigmar Polke impurity is assumed, which characterizes hybrid territories. From formal hybrid we move to conceptual hybridity with Damien Hirst, in a dual reading of his work. Antoni Muntadas, Luís Felipe Noé and Alfredo Jaar, analysed by García Canclini, dig deeper into questions of cultural hybridity, then extended to the works of Shahzia Sikander, Shirin Neshat, Ghada Amer, Shirazeh Houshiary, Arif Özakça and Barry Reigate, in a meeting with inter-spaces, with inter-times, with interstitial spaces and with spaces in between

It was Otto Wallach (1847– 1931) who first coined the term “terpene” and made the observation that many plant-derived essential oils had chemical structures whose composition was based on multiples of a basic five-carbon unit. His work with turpentine and the organic products derived from it was consistent with earlier studies of natural rubber which had shown that its thermal decomposition released “isoprene” (2-methyl-1,3-butadiene) as the principal product. This led eventually to the formulation of the so-called biogenetic isoprene rule of Leopold Ruzicka (1887–1976) in 1953 which stated that “the carbon skeleton of the terpenes is composed of isoprene units linked in regular or irregular arrangement.” As it turns out, biosynthetic pathways to terpenes are found in nearly all organisms, producing a remarkable variety of different structural types, as we will soon see. In fact, something in excess of over 25,000 different terpenes with a wide variety of biological functions have been isolated from the plant kingdom over the years. Interestingly, while many terpenes are simple achiral compounds, others are chiral as can be seen in the case of α-pinene in Fig. 4.1. But unlike the naturally occurring L-amino acids and D-carbohydrates, different organisms may produce the same terpene product but in different enantiomeric forms. For example, limonene is formed by more than 300 plants, with the (+)-(R) enantiomer being the most widespread form as the major constituent of citrus peel essential oils (orange oil). As the most abundant of all terpenes, its pleasant citrus fragrance and flavor have led to its worldwide use in the food and fragrance industries and also as a botanical insecticide. A number of plants produce both enantiomers of limonene, while others produce only the (−)-(S)-enantiomer which possesses a strong pine smell reminiscent of turpentine. This obviously speaks to the chirality and enantioselectivity of our own olfactory receptor sites which can readily distinguish between the two enantiomers, thus signaling a different odor response in each case.