Academic literature on the topic '1924-2002'
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Journal articles on the topic "1924-2002"
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Drège, Jean-Pierre. "Michel Soymié (1924-2002)." École pratique des hautes études. Section des sciences historiques et philologiques. Livret-Annuaire 134, no. 17 (2003): 38–42. http://dx.doi.org/10.3406/ephe.2003.13113.
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Stratford, Neil. "Jacques Henriet (1924-2002)." Bulletin Monumental 160, no. 2 (2002): 139–42. http://dx.doi.org/10.3406/bulmo.2002.1100.
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GERNET J. "Michel Soymi? (1924-2002)." Journal Asiatique 290, no. 2 (April 14, 2005): 341–48. http://dx.doi.org/10.2143/ja.290.2.504291.
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Maier, Giulio, and Giannantonio Sacchi Landriani. "Leo Finzi (1924-2002)." Meccanica 39, no. 6 (December 2004): 493–94. http://dx.doi.org/10.1007/s11012-005-6106-y.
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Bensasson, René-Victor, Zohreh Abedinzadeh, and Jean-Paul Jay-Gerin. "Christiane Ferradini (1924–2002)." Radiation Research 158, no. 6 (December 2002): 809–11. http://dx.doi.org/10.1667/0033-7587(2002)158[0809:cf]2.0.co;2.
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Drège, Jean-Pierre. "Michel Soymié (1924-2002)." Bulletin de l'Ecole française d'Extrême-Orient 89, no. 1 (2002): 6–14. http://dx.doi.org/10.3406/befeo.2002.3558.
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Bensasson, René-Victor, Zohreh Abedinzadeh, and Jean-Paul Jay-Gerin. "Christiane Ferradini (1924-2002)." International Journal of Radiation Biology 78, no. 11 (January 2002): 1061–62. http://dx.doi.org/10.1080/0955300021000019690.
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Ewel, John J. "Howard Thomas Odum (1924–2002)." Bulletin of the Ecological Society of America 84, no. 1 (January 2003): 13–15. http://dx.doi.org/10.1890/0012-9623(2003)84[13:hto]2.0.co;2.
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Goldberg, Barry B. "Raymond Gramiak, MD, 1924-2002." Journal of Ultrasound in Medicine 21, no. 12 (December 2002): 1342. http://dx.doi.org/10.7863/jum.2002.21.12.1342.
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Feltham, Barney. "Alan Ashley Skinner (1924−2002)." Australasian Radiology 47, no. 4 (December 2003): 479. http://dx.doi.org/10.1046/j.1440-1673.2003.01227.x.
Full textDissertations / Theses on the topic "1924-2002"
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Carter, Carson T. "Advent of a Civic Art Space: A Case Study on the Tucson Museum of Art 1924 to 2002." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243878.
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This thesis is a case study on the Tucson Museum of Art and Historic Block (TMA) and its support organizations, with particular focus on the history and role of educational and community outreach among those organizations. Contrary to traditional museum designs of the twentieth century, the TMA was created with the stated goal of educating and expanding art awareness in the community, rather than placing a primary emphasis upon collecting and preserving collections. Not until the 1980s did most American museums begin to adopt such policies. As one of Southern Arizona's largest cultural entities, the TMA serves as leader in and primary facilitator of arts education across multi-generational, multi-cultural audiences.
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Puccianti, Tatiana. "Présences de la psychanalyse dans la littérature italienne contemporaine : Giuseppe Berto, Ottiero Ottieri." Paris 8, 1994. http://www.theses.fr/1994PA080851.
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Cette etude concerne deux auteurs italiens contemporains, giuseppe berto et ottierio ottieri qui mettent tous deux en scene la relation analyste-analysant, mais chez lsquels les implications de la decouverte freudienne sont tout autres pour ce qui concerne la problematique vitale en meme temps que le projet d'ecriture. Nous nous sommes attaches a mettre en evidence leur radicale dissymetrie. D'un cote un roman, le mal obscur (1964) pour berto, qui s'inscrit sous le signe de la filiation: avec le pere reel dont la mort suscite la nevrose sijet de la narration, et avec le pere litteraire, le svevo de la conscience de zeno (1923). De l'autre, pour ottieri, un ensemble de textes allant du roman a la poesie et a l'essai, qui nous ont semble tourner autour du campo di concentrazione (1972), "journal d'une depression ecrit pendant la depression". Textes qui, eux, n'ont pas de modele litteraire et qu'on nepeut lire selon la logique oedipienne du roman familial, tant ils effacent l'idee de la cause et d'une issue possible. Le style du mal obscur qui suit le principe de la libre association est tout entier impregne de cet humour qui permet l'identifgication du lecteur et son plaisir, malgre l'atrocite des souffrances decrites. Au contraire l'ecriture d'ottieri que le sentiment de l'irrealite traverse, a la fois trop pres d'un reel ecrasant par sa litteralite et traversee par la fulgurance d'expressions poetiques tres denses, produit un effet de malaise et de sideration sur le meme lecteur, on pourrait meme dire un effet toxiqueThis critical study is about two contemporany italian writers, giuseppe berto and ottiero ottieri. Both bring out the relationship between analyst and analysand. However, the implications of freud's theories are quite different for each writer, as regards the difficultes of existenceand very project of writting. I have tried to show how radically different they are. In the firs place berto's novel il male oscuro (1964) (am. Tr. Incubus) is very much under the sign of a double filiation : one with his actual father whose death brings about neurosis (the topic of the novel), the other with his "literary father". The svevo of la coscienza di zeno (1923). Then a body of texts by ottiero ottieri (novels, poems and one essay) which seem to be centered around il campo di concentrazione (19729: "the journal of a deression written during the depression". These texts follow no litterary model and connot be read according to the oedipian logic of the family romance, inasmuch as they do away with the notions of cause and of a possible solution. Style in il male oscuro, based on free association is wholly pervaded with humour, which enables the reader to identify and to feel pleasure in spite of the gruesome experiences described there. On the contrary, ottieri's writing is shot through with a radical feeling of unreality too close to an overwhelming reality inhibiting any imaginary activity and is characterized by clusters of poetic expressions
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Preda, Colegiu Roxana Natalia. "Petru Dumitriu – Le drame de l’écrivain entre deux mondes." Thesis, Paris Est, 2015. http://www.theses.fr/2015PESC0025.
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La présente thèse c’est l’histoire d’une vie, des sommets et des abîmes, de la lumière et des ténèbres, des sourires et des sanglots. Les deux moitiés complémentaires de la vie, une manière d’expression personnelle et unique, une force créatrice qui va au-delà des limites, le talent littéraire indiscutable, voilà quelques mots-clefs qui caractérisent bien notre auteur. La métamorphose imprévisible continuelle manifestée dans son œuvre et les secrets de son écriture, contestée et appréciée à la fois, ne sont que des pistes générales qu’on se propose de développer tout au long de cette recherche. Les nombreuses publications récentes montrent un grand intérêt qui existe pour un sujet encore actuel et inépuisé, pour une époque qui suscite une longue chaîne d’interrogations, qui ne cesse de surprendre. Un thème de discussion toujours effervescent et passionné, qui accueille de plus en plus de participants prêts à se délivrer des mystères d’une époque lourde et obscure. Pourquoi « Le drame de l’écrivain entre deux mondes » ? Un titre apparemment simple, pour un thème vraiment complexe. Probablement parce que Petru Dumitriu est un cas atypique ; en contraste avec ceux qui préfèrent vivre en silence leurs drames, préserver au maximum leur intimité, tout sceller pour toujours dans les profondeurs de leur âme, Petru Dumitriu choisit l’ouverture, la sincérité totale, le récit assumé d’une expérience qui émeut dès les premières phrasesThe current thesis is the story of a life, peaks and abysses, light and darkness, smiles and tears. The two complementary halves of life, a way of personal and unique expression, a creative force that goes beyond the limits, the indisputable literary talent, here are some keywords that perfectly characterize our author.The continual metamorphosis unpredictable manifested in his work and the secrets of his writing, both challenged and appreciated are only general tracks that we propose to develop throughout this research.The many recent publications show great interest that exists for a current and still unexhausted subject to a time that elicits a long string of questions, which continues to surprise. A topic of discussion still effervescent and passionate, which welcomes more and more participants willing to deliver mysteries of a heavy and dark time.Why "The drama of the writer between two worlds"? An apparently simple title for a truly complex issue. Probably because Petru Dumitriu is an atypical case; in contrast to those who prefer to live in silence their dramas, preserve their privacy at the maximum while sealed forever in the depths of their soul, Petru Dumitriu chooses aperture, total sincerity, the narrative assumed an experience that moves from the very first sentences
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You, Seun-Kyong. "La double écriture dans l'oeuvre de Michel Tournier." Lyon 2, 2002. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2002/you_sk.
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A travers les oeuvres de fiction (romans), de réflexion (autobiographies, essais et articles) et celles dites pour "enfants" (réécritures et contes), nous étudions la présence et l'évolution de deux paroles contradictoires, l'une mythique et l'autre romanesque, dans l'écriture de Michel Tournier. Notre analyse distingue et suit successivement les deux paroles afin de mieux révéler le mouvement conflictuel de l'écriture et d'identifier les principales caractéristiques de chaque mouvement. Sont étudiés ainsi, pour la parole unifiante, la combinaison des thèmes et des mythes, puis pour la parole oblique, les jeux du miroir d'inversion, de perversion et de répétition. Notre analyse s'exerce finalement sur l'écriture du conte qui tente de réconcilier les deux paroles, témoignant par là du caractère accompli et "absolu" de l'écriture tourniérienne. Partant d'une étude des matières premières de l'écriture de Tournier pour aboutir au conte qui paraît être, pour Tournier, la forme "idéale", il s'agit en somme de présenter une lecture évolutive de l'ensemble de l'oeuvre de Tournier, en mettant en évidence la logique qui lie le mythe, le roman et le conteThrough the works of fiction (novels), reflection (autobiographies, attempts and articles) and those said "for children" (rewrintings and tales), we study the presence and the evolution of two contradictory movements, the one mythical and the other one romantic, in Michel Tournier's writing. Our analysis distinguishes and follows successively each movement to better reveal the conflict of the writing and identify the main characteristics of each one. For the unifying movement, the combination of the subjects and the myths is studied, then, for the oblique one, the games of the miror of inversion, perversion and repetition are so studied. Our analysis finally exercices on the writing of the tale which try to reconcile both movements, testifying of the absolved and accomplished character of the tourniérienne writing. By beginning with a study of Tournier's raw materials to end with the tale, which seems to be, for Tournier, the ideal shape of writing, the purpose is to present a progressive reading of the whole Tournier's work, by putting in evidence the logic which connects the myth, the novel and the tale
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Marty, Christophe. "L’aventure coloniale dans le roman britannique vue par le cinéma américain : King Solomon’s Mines (1950), Kim (1950), The Quiet American (1958 ; 2002), The Man Who Would Be King (1975), Apocalypse Now (1979 ; 2001)." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030125.
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Portant sur six adaptations hollywoodiennes de récits de Rider Haggard, Kipling, Conrad et Greene, ce travail analyse la manière dont le cinéma américain retravaille divers aspects des supports littéraires à des fins esthétiques [attention aux détails exotiques, remaniements narratifs, jeu des acteurs, couleurs, décors] et idéologiques [réflexion sur l’impérialisme colonial]. En confrontant les films et les récits qui les précèdent, il s’agit d’examiner la manière dont le cinéma prend appui sur la littérature pour tisser un réseau où transparaît le regard que Hollywood porte sur la tentation impérialiste américaineThe study focuses on six adaptations of narratives by Rider Haggard, Kipling, Conrad and Greene. It addresses the way Hollywood worked over several aspects of the literary works for aesthetic [attention to exotic details, reshaping of narratives, acting, colours, setting] as well as ideological purposes [a reflection on colonial imperialism]. Comparing the films with their literary antecedents, the study analyses the manner cinema is backed by literature to weave a network of signs which reveal Hollywood’s approach to American imperialist temptation
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Antunes, Marco José. "Arquitectura escavada." Master's thesis, 2012. http://hdl.handle.net/10316/23307.
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Dissertação de Mestrado Integrado em Arquitectura, apresentada ao Departamento de Arquitectura da F. C. T. da Univ. de Coimbra.Vivemos num mundo que aclama a imagem. Abrimos revistas de arquitectura contemporânea, e percebemos que a imagem visual é o seu destaque. A arquitectura tornou-se num objecto de consumo. “Chapas perfuradas, desdobradas ou onduladas, vidros serigrafados e cortes oxidados convertem-se em protagonistas quando esquecemos a Luz e Espaço.”4 Mesmo em livros de História, as construções são catalogadas consoante o estilo baseada em proporções e geometria construtiva de fachadas. São retratos de apelo à exterioridade da arquitectura, apenas “vista” por fora. Assim, um dos principais motivos do ensaio se inserir na arquitectura escavada, foi o facto destas construções se cingirem a qualidades de habitabilidade, deixando de parte o apelo à exuberância da imagem exterior. Mais do que vivida, a arquitectura tem-se revelado um bem de consumo, apenas transformada em ícones visuais. “Dir-se-ia que a arquitectura tende a evoluir para a rarefacção dos significados em favor dos sentidos. E essa extrema luminosidade das formas obscurece ou deprime os valores temporais da civilização”.5 A profundidade e “invisibilidade” da arquitectura escavada despertam uma capacidade de suscitar emoção, num confronto entre fobia e curiosidade. A sua dinâmica espacial e os rasgos criados para a luz natural entrar no edifício, surgem de um modo completamente diferente do que estamos habituados. A luz e o vazio tornam-se no mais importante. Acreditando que arquitectura deve ser capaz de regenerar um campo emotivo de emoções, estes elementos serão os protagonistas da dissertação. Iremos procurar neste ensaio, a materialidade da luz e do vazio em arquitecturas escavadas. Apesar de relacionada com o mundo subterrâneo, o ensaio incide não só nestes casos, como em qualquer arquitectura que pratique a experiência de subtracção de matéria. De que modo arquitectos, escultores, ou outros artistas, fazem uso destas qualidades (embora sem matéria física), como elementos suscitadores de emoção e significado às obras. Para muitos arquitectos, o espaço é apenas tratado como o resultado físico entre as paredes, no entanto, tratado como elemento concreto, torna-se num factor dignificatório da arquitectura, chegando a criar espaços sublimes e de transcendência. “As formas animam o espaço e dela vivem, mas o espaço, embora não vejamos, constitui forma (…) ”.6 No mesmo sentido, iremos elevar a luz a matriz fomentadora de emotividade. “A luz é um material com propriedades concretas. É minha intenção que a possamos viver fisicamente.”7 Metodologia No primeiro capítulo, iremos fazer breves apontamentos conjugando um paralelismo entre a arquitectura primitiva, de caverna e troglodita, com uma arquitectura contemporânea que retorna a interagir com o envolvente, querendo fazer parte dele. Descrevo como “apontamentos”, pois a vastidão do tema daria para a criação de várias dissertações, e são apenas referências introdutórias do tema principal. O capítulo II aspira retirar importância à imagem visual da arquitectura. Partindo de uma visão histórica até à transformação da arquitectura como bem de consumo. Será analisado o modo de ver a forma ao longo dos tempos, até novas preocupações arquitectónicas face ao impacto visual da arquitectura, que tende a retirar-lhe significado. No terceiro capítulo, irá ser abordado o espaço. Pretende-se abordar obras e arquitectos que procuram a materialidade do vazio, desde uma época em que o “space of abscense”8 era tratado como algo ancestral, até ao espaço como gerador matriz de projectos. Artistas que procuram o vazio na subtracção da matéria, arquitectos que tratam o vazio como algo positivo e concreto, ou a criação de ambientes díspares pela dicotomia entre cheios e vazios. O quarto capítulo pretende destacar o modo como a luz pode ser manipulada e controlada para conferir uma quarta dimensão, distinta e sensorial na espacialidade arquitectónica. Iremos em busca da sua emoção corporal e espiritualidade muitas vezes representada, ou a sua focalização que estimula e comove o espaço. O capítulo final trata sobre a obra utópica de Tindaya, do escultor Eduardo Chillida. A inclusão desta obra é justificada por ir ao perfeito encontro com a teorização da dissertação. A sua importância é salientada pois seria um projecto construído apenas com pretensões espaciais e luminosas, escavado no coração de uma montanha. O culminar da obra de Chillida e também deste ensaio. e também deste ensaio.
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Felicíssimo, João Henrique Seixas Monteiro Faria 1979. "Arquitectura subtractiva : exploração e reconfiguração de um lugar como componente revelador de formas e espaços emergentes." Master's thesis, 2017. http://hdl.handle.net/11067/3206.
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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2013Exame público realizado em 24 de Julho de 2013
“ (…) Qualidade arquitectónica só pode significar que sou tocado por uma obra. Mas porque diabos me tocam estas obras? E como posso projectar tal coisa?” Penso que podemos reconhecer, que alguns projectos e obras produzem e despertam questões como as que o arquitecto Peter Zumthor descreve. Da mesma forma neste trabalho, inserido no âmbito do Mestrado Integrado em Arquitectura, da Universidade Lusíada, na disciplina de projecto final, pretendo que alguns dos exemplos que proponho expliquem, exemplifiquem e provoquem uma análise sobre o tema que estou a dissertar, não criando um discurso à volta da sua génese, que crie conclusões e certezas sobre o mesmo, mas sim, a forma como todos os conceitos e elementos nele existentes, nos influenciam mostrando toda a sua magia. Pretendo demonstrar que o pensamento em obras de arquitectura com carácter de subtracção, permite e sugere novas abordagens e nterpretações. A paisagem urbana actual, resultado de crescimento mais ou menos planeado, tende hoje a apresentar uma imagem globalmente descaracterizada, evocando a necessidade de criar novos pontos de referência. Neste sentido, dentro dos conceitos da actual sociedade, ao intervir num determinado ponto, “lugar”, dessa paisagem urbana, essa actividade assume um papel emergente e mediático. A temática da Arquitectura Subtractiva, convivendo muito próximo com temas, como da arquitectura escavada e subterrânea, na presente tese pretende demonstrar o impacto que a actuação num determinado lugar, poderá revelar novas formas e espaços arquitectónicos na paisagem urbana.
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Oliveira, Pedro Miguel Domingos Jorge de. "A obra de Cruzeiro Seixas na perspectiva da colagem contemporânea portuguesa." Doctoral thesis, 2015. http://hdl.handle.net/10451/26274.
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Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2016O tema da tese de doutoramento, constituiu o estudo da colagem no contexto da arte contemporânea nacional, focado em alguns artistas de referência, durante a segunda metade do séc. XX. Importa sublinhar o processo de colagem, como um importante veículo da linguagem do desenho e não como um mero suporte de trabalho, complementar ao desenho e (ou) à pintura. Esperamos acima de tudo, contribuir para um melhor conhecimento da evolução dos processos de colagem, inserido nos vários movimentos artísticos vigentes e em particular a partir do Surrealismo. Sendo a colagem, parte intregrante do desenho, constituiu um procedimento artístico em que se compoêm pedaços de papel liso, estampado, pintado ou impresso (jornais, revistas), embalagens, cartão, tecido ou pequenos objectos sobre um suporte geralmente plano. A colagem constituiu no ínicio do séc. XX, um importante veículo de expressão no seio dos grandes círculos artísticos europeus, centrado especialmente na cidade de Paris. Por isso, é essencial, antes de entrarmos no tema da tese, salientar o pioneirismo de Pablo Picasso e George Braque na criação dos primeiros Papiers Collés. Na esfera nacional é imprescindível salientar o papel de Amadeo de Souza-Cardoso, como artista de referência no panorama português, no que concerne à introdução das primeiras colagens no movimento cubista. No desenvolvimento da tese, importa focar o estudo da colagem na segunda metade do séc. XX, a partir do movimento surrealista português, dos seus principais intervenientes e das obras mais relevantes para a evolução do desenho e da colagem. Neste período, importa referenciar a importância do grupo KWY no contexto da arte contemporânea nacional e do impulso que alguns dos seus membros introduziram no desenvolvimento da colagem. Definimos como case study de estudo, um artista de referência nacional (Artur Manuel Rodrigues do Cruzeiro Seixas), cuja obra, (particularmente no domínio no desenho e da colagem), seja marcante no contexto da arte contemporânea nacional. Ao estudarmos a sua longa carreira, principalmente ao nível do desenho, retemos um amplo conjunto de ideias e de obras inéditas reveladas a partir dos seus scrapbooks. Sendo a análise desta informação ainda muito escassa, mesmo por parte da FCM, torna-se imperativo um estudo mais aprofundado acerca deste tema e mais concretamente dos registos ao nível do desenho e colagem.
The main objective of the Phd project is to focus the whole study of collage as an essential element of artistic expression. Its also important to clarify that collage its not just an artistic work tool for drawing or paint, but an important comunication support and to focus on the introduction of collage in contemporary Portuguese art and all its evolution over the second half of the twentieth century. Contribute to the study of the history of portuguese contemporary art, focusing the study on the theme of collage in Portugal, alongside the drawing. However, as collage is considered being part of drawing, is an artistic procedure (completely apart) in putting together pieces of plain paper, stamped, painted or printed (newspapers, packaging), cardboard, cloth or small objects on a plan support. Since the beginning of the twentieth century, collage was an important vehicle of expression in the European vanguard movements. Before entering the theme it self its important to study the pioneering role of Picasso and Braque in the early twentieth century and the environment in portuguese artistic context, highlighting the role of Amadeo de Souza-Cardoso, with reference to the introduction of the Cubist collages movement in Portugal and it´s transition to painting. After the introductory chapter, it´s important to focus the study of collage in the second half of the twentieth century, beginning with the birth of the portuguese Surrealist movement, their main artists and the more significant works for the evolution of portuguese contemporary collage, either by it´s pioneering in the materials and techniques used, or by it´s conceptual composition. To assess and substantiate this study, it is important to make a brief overview on the international references. Make a case study of collage to a main portuguese artist (Artur Rodrigues do Cruzeiro Seixas), which has been distinguished by the use of collage techniques in an exceptional way. By analyzing and studying his long artistic career in drawing and collage, we retain several ideas, artistic concepts and new information about his work, which proved to be particularly relevant in the whole collage movement and in Portuguese contemporary art. Set as case study by investigating the develop of collage by a national reference artist (Master Cruzeiro Seixas), which has been distinguished by the use of collage techniques in designing exceptional way. By analyzing and studying his long artistic career by drawing and collage level, we retain a set important ideas and artistic concepts reflected by the revelation of a set of unpublished works from his scrapbooks, which proved to be particularly relevant in his work and in the Portugal contemporary art.
Books on the topic "1924-2002"
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Szaraniec, Lech. Muzeum Śląskie w Katowicach, 1924-2002 =: Das Schlesische Museum in Katowice, 1924-2002. 4th ed. Katowice: Muzeum Śląskie, 2002.
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Tuszyński, Bogdan. Polscy olimpijczycy XX wieku: 1924-2002. Wrocław: Wydawn. "Europa", 2004.
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Alfonso de los Reyes Villarreal. Palacio Penal de Andonegui: Historias desde el purgatorio : Tampico (1924-2002). [Tampico]: Publicaciones Históricas de las Huastecas, 2003.
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Francis Newton Souza (1924-2002): Bridging western and Indian modern art. Ahmedabad: Mapin Pub., 2006.
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Tuszyński, Bogdan. Polscy olimpijczycy XX wieku (1924-2002): Tom 1: A-M; Tom 2: N-Z. Wroclaw: Wydawnictwo "Europa", 2003.
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Snoep, Huub. Oranje op olympisch ijs: Nederlandse schaatssuccessen van Chamonix 1924 t/m Salt Lake City 2002. 2nd ed. Haarlem: De Vrieseborch, 2002.
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Musée National de la Coopération Franco-Américaine (Blérancourt) : Historial de la Grande Guerre (Péronne) (Blérancourt, Péronne). Des Américaines en Picardie: Au service de la France dévastée, 1917-1924 : exposition, Péronne, Historial de la Grande Guerre, 26 avril au 31 août 2002. Paris : Blérancourt : Péronne: Réunion des Musées nationaux : Musée National de la Coopération Franco-Américaine : Historial de la Grande Guerre, 2002.
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oblasti, Gosudarstvennyĭ arkhiv Permskoĭ. Lichnyĭ fond: Astafʹev Viktor Petrovich (1924-2001) : pisatelʹ, laureat Gosudarstvennykh premiĭ RSFSR i SSSR : fond no r-1659 opisʹ no 1 : dokumentov postoi︠a︡nnogo khranenii︠a︡ za 1928-2002 gg. Permʹ: Gos. arkhiv Permskoĭ oblasti, 2005.
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Colavero, Enrica, ed. Fiorentini abusivi. Florence: Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-720-1.
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Through a precious labour of retrieval, transcription and the attentive and painstaking annotation of an unpublished correspondence made up of 311 pieces, Enrica Colavero gives voice to two important and retiring Italian poets of the later twentieth century: Francesco Tentori (1924-1995) and Ercole Ugo D'Andrea (1937-2002), the last impassioned witnesses and disciples of hermeticism. Tentori was a major translator of Spanish and Spanish-American poets and novelists; it was he who introduced Borges into Italy. Before settling permanently in Rome, he established close ties with Florence, in particular with the groups of intellectuals (writers and critics, but also painters) who frequented the Gabinetto Viessuex and the Caffè Paszkowski. D'Andrea too was a Florentine by adoption, in view of his passion for hermeticism, but he instead chose the isolation of Galatone, in the extreme south of Puglia, where he devoted himself intensively to his studies. From the readings presented in this book the centrality of culture emerges, but also the hopes and delusions of two unorthodox, unquiet intellectuals, seeking the time and the meaning of a life devoted entirely to addressing and serving art.
Book chapters on the topic "1924-2002"
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"Smithells, Richard Worthington (1924–2002)." In Eponyms and Names in Obstetrics and Gynaecology, 397. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108421706.316.
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"The Winter Olympics: Driving Urban Change, 1924–2002." In Olympic Cities, 61–71. Routledge, 2011. http://dx.doi.org/10.4324/9780203822920-11.
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"14. Sir Peter Parker (1924–2002) And Japan." In Britain and Japan: Biographical Portraits, Vol. VI, 169–81. Global Oriental, 2008. http://dx.doi.org/10.1163/ej.9781905246335.1-448.107.
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"National Report for Australia." In Commencement of Insolvency Proceedings, edited by Christopher F. Symes. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199644223.003.0001.
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The English Bankruptcy Act of 1542 and subsequent 17th century legislation served as the model for early personal insolvency laws upon white settlement in Australia. In 1840 the colony of New South Wales, Australia’s first colony, passed an Absent Debtors Act and the following year an Act for Giving Relief of Insolvent Debtors. A number of the colonies passed insolvency legislation in the period leading up to Federation in 1901. Under the Australian Constitution from 1901 the Federal Parliament has had power to ‘make laws for the peace, order and good government’ with respect to bankruptcy and insolvency. The Federal Parliament used this power in 1914 to create its first Bankruptcy Act and there were new Acts in 1924 and 1966. The present legislation is the Bankruptcy Act 1966 (Cth) which had major amendments in 2002 and 2004.
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Welter, Albert. "The Origins and Development of Leifeng Pagoda." In A Tale of Two Stūpas, 73–107. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197606636.003.0004.
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Abstract Leifeng Pagoda originated at the bequest of Wuyue King Qian Chu, who created reliquaries and printed copies of The Precious Chest Seal Dhārani Sūtra and installed these in pagodas. The creation of reliquaries and printed copies of the Sūtra follows the model of King Aśoka, who allegedly erected eighty-four thousand stūpa reliquaries to house Śākyamuni’s remains, including his physical remains as well as his teachings. The contents of The Precious Chest Seal Dhārani Sūtra exhibit the miraculous powers extended to all who construct stūpas and copy the Precious Chest Seal Dhārani Sūtra. In later centuries, the Leifeng Pagoda became associated with the legend of the White Snake, the culmination of a body of snake-inspired lore; stories of young men becoming involved with snake-women have a long tradition in Chinese literature. After falling into disuse and decay, the Pagoda collapsed in 1924 and was eventually resurrected in 2002.
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Herrero, Borja Legarra. "What Happens When Tombs Die? The Historical Appropriation of the Cretan Bronze Age Cemeteries." In The Lives of Prehistoric Monuments in Iron Age, Roman, and Medieval Europe. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780198724605.003.0021.
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Nobody can escape the past on Crete. The remainders of the past are part of the lives of modern Cretans in a way that is applicable to earlier historical periods (Bradley 2002, 112–13). It could at first be thought that the present awareness of the past may be a consequence of the long history of archaeological work on the island, or the modern emphasis in developing attractions for the tourists (Duke 2007), but the truth runs much deeper. Any conversation with people in a small village discovers a rich rationalization of the remains of the past that is mostly independent of modern interpretations of Minoan culture. This understanding cannot be entirely explained either by the proud look of the past that defines important aspects of modern Greek and Cretan identity (Hamilakis 2007), but it relies heavily on their everyday experience of the place where they live, and on the human necessity of making sense of their immediate world. Particularly, given the agricultural emphasis of the island, the earth, and what it contains is intimately known. It was not unusual (and it is still not unusual) for archaeologists to conduct Kafenio (local coffee shop) surveys, in which a friendly chat at the local coffee place can shed much information about the archaeology of the area. Local knowledge is detailed and exhaustive and therefore a rich source of information. While locals may not be aware of what the site may be, concentrations of ceramics on the ground, piles of stones traditionally known as Trochalos (Xanthoudides 1924, 54) or memories of find-spots of strange or valuable items are part of the local shared knowledge. There are a couple of good reasons that allow us to project this picture onto the past. First, the intrinsic knowledge of the land where one lives may be assumed to be a trait of any population. Second, the island had one of the most archaeologically complex Bronze Age civilizations in Europe, lasting for more than a millennium.
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James, Simon. "The Plateau Zone West of G St." In The Roman Military Base at Dura-Europos, Syria. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198743569.003.0019.
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One of the first structures explored at Dura in 1920, this temple (or perhaps better, sanctuary: Buchmann 2016, 116) was subsequently completely excavated but never fully published. Preliminary accounts were written by the excavators (Cumont 1926, 29–41; PR 2, 11–12, 67–9 (Pillet), PR 4, 16–19 (Pillet); Rostovtzeff 1938, 68–75 and pl. VI) and it has been much discussed since (Downey 1988, 105–10 for overview and references; Dirven 1999, 326–49 for the Palmyrene evidence; Leriche et al. 2011, 28). It remained a temple through the Roman period, apparently no part of it other than, presumably, the upper levels of city wall Tower 1 being used for secular military purposes. However, its continued existence in the farthest corner of the military base, and its attested use for worship by the Roman military community, demand discussion here. Indeed one of the very first military discoveries was the Terentius wall painting on the N wall of the temple’s room A, depicting a Roman military sacrifice by cohors XX Palmyrenorum before a triad of its national deities and the Tychai of Dura and Palmyra (Pl. I; Breasted 1922; Cumont 1923; Breasted 1924, 94–101, pl. XXI). Cumont consequently called the sanctuary the ‘Temple of the Palmyrene Gods’ (Cumont 1926, 29). In recent decades it has been more usually known as the ‘Temple of (i.e. Palmyrene) Bêl’, following Rostovtzeff (1938, 51), although in Parthian times it was probably dedicated to Zeus (Welles 1969, 63; Millar 1998, 482; Kaizer 2002, 122). No evidence indicates Palmyrene worship in the Parthian-era temple (Dirven 1999, 327–8). There is no consensus on the name for the sanctuary, so I follow MFSED’s ‘Temple of Bêl’ (Leriche et al. 2011, 28; also now Kaizer 2016b, 37–41). Described as laying in ‘J3/5’ by the Yale expedition, it actually lies N of these blocks in an area MFSED has labelled J9 (Leriche et al. 2011, 28–30). During the third century when the temple lay within the Roman base area, it did become the focus of Palmyrene cults, likely ‘related to Palmyrene soldiers or people associated with them’ (Dirven 1999, 328).
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Martellozzo, Federico, and Keith C. Clarke. "Urban Sprawl and the Quantification of Spatial Dispersion." In Geographic Information Analysis for Sustainable Development and Economic Planning, 129–42. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1924-1.ch009.
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The uncontrolled spread of cities into their surrounding rural and natural land is an issue of high popular interest and has been the topic of considerable research. Urban sprawl remains controversial, even though among scholars there are still no unambiguous definitions of sprawled zones--their spatial form and their causative factors--nor about the urban processes and dynamics involved. In order to create such a definition, the authors describe the spatio-temporal patterns of urban form in a study area noted for sprawl, focusing on measures that can detect the degree of urban spatial dispersion over time (Batty 2002). The data used is a fusion of archived thematic maps, classified satellite imagery, census data, and forecast maps of future urban scenarios. The area investigated was the northeastern province of Pordenone in Italy, which is particularly relevant and curious because despite being a small city, it was assessed in 2002 as one of the most explicative examples of sprawl in Europe by the European Environment Agency. The authors analyzed urban growth mainly through the evolution of urban patterns over time, hence sprawl is considered as a specific case of growth that drives urban expansion from denser and compact extent to an unorganized and fragmented pattern. How the spatio-temporal dynamics of urban growth are quantified is crucial for urban planners, as knowledge of amounts and rates allows more efficient selection and application of policy and could help researchers to better understand urban sprawl’s etiology.
Conference papers on the topic "1924-2002"
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Aroonsrisopon, Tanet, David E. Foster, Takeshi Morikawa, and Minoru Iida. "Comparison of HCCI Operating Ranges for Combinations of Intake Temperature, Engine Speed and Fuel Composition." In Future Car Congress. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2002. http://dx.doi.org/10.4271/2002-01-1924.
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