Academic literature on the topic '7 - Belles arts'
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Journal articles on the topic "7 - Belles arts"
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Thein, A. G. "M. Chassignet, L'Annalistique romaine. Tome III. L'annalistique recente. L'autobiographie politique (fragments). Paris: Les Belles Lettres, 2004. Pp. clix + 295. ISBN 2-251-01435-7. €61.00." Journal of Roman Studies 95 (November 2005): 282–83. http://dx.doi.org/10.1017/s0075435800002860.
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Bispham, Edward. "M. Chassignet (ed.), L'annalistique romaine. Tome II. L'annalistique moyenne. Paris: Les Belles Lettres, 1999. Pp. xcv + 183. ISBN 2-251-01418-7. FFr 280/€42.68." Journal of Roman Studies 92 (November 2002): 199–200. http://dx.doi.org/10.2307/3184870.
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Hochner, Nicole. "Ralph E. Giesey Le rôle méconnu de la loi salique: La succession royale, XIVe–XVI e siècles. Histoire. Paris. Les Belles Lettres. 2007.ISBN: 978-2-251-38082-7." Renaissance Quarterly 61, no. 1 (2008): 199–200. http://dx.doi.org/10.1353/ren.2008.0013.
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Poulouin (book editor), Claudine, Jean-Claude Arnould (book editor), and Corinne Noirot-Maguire (review author). "Bonnes lettres / Belles lettres. Actes des colloques du Centre d'Études et de Recherches Éditer / Interpréter de l'Université de Rouen (26 et 27 avril 2000-6 et 7 février 2003)." Renaissance and Reformation 31, no. 1 (January 1, 2008): 121–24. http://dx.doi.org/10.33137/rr.v31i1.9550.
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Forte, Helen. "Ammianus Marcellinus, Histoire, Tome V (Livres XXVI–XXVIII). Ed. and trans. M.-A. Marié (Association G. Budé). Paris: Les Belles Lettres, 1984. Pp. 309, 2 folding maps. ISBN 2-251-01323-7." Journal of Roman Studies 77 (November 1987): 266. http://dx.doi.org/10.2307/300636.
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Lansford, Tyler. "Florence Vuilleumier Laurens and Pierre Laurens. L’âge de l'inscription: La rhétorique du monument en Europe du XVe au XVIIe siècle. Le Cabinet des Images 2. Paris: Les Belles Lettres, 2010. 302 pp. + 3 color pls. index. append. illus. tbls. €47. ISBN: 978–2–251–44386–7." Renaissance Quarterly 63, no. 4 (2010): 1259–60. http://dx.doi.org/10.1086/658519.
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Ruiz de Lacanal, Mª Dolores. "Colecciones Educativas de la Universidad de Sevilla." Ge-conservacion 10 (December 22, 2016): 69–70. http://dx.doi.org/10.37558/gec.v10i0.385.
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Reseña del libro:Colecciones Educativas de la Universidad de SevillaMaría Dolores Ruiz de Lacanal Ruiz-MateosReal Academia de Bellas Artes Santa Isabel de Hungría. Sevilla, 2015Páginas: 206Idioma: EspañolISBN: 978-84-608-3934-7
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Garvie, A. F. "(A. M.) Moreau Eschyle: la violence et le chaos. (Études mythologiques.) Paris: Les Belles Lettres. 1985. Pp. 407, [7] plates. Fr. 290. - (J.) Herington Aeschylus. (Hermes books.) New Haven and London: Yale University Press. 1986. Pp. ix + 191. £25.00 (bound), £6.95 (paper)." Journal of Hellenic Studies 107 (November 1987): 198–99. http://dx.doi.org/10.2307/630094.
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Ramírez, Ligia. "La elaboración de un libro de texto de lengua española." Ciencia y Sociedad 13, no. 4 (December 1, 1988): 491. http://dx.doi.org/10.22206/cys.1988.v13i4.pp491-7.
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Este texto analiza la elaboración de los libros de textos de Lengua Española, los cuales tienen que ser elaborados siguiendo fielmente los lineamientos trazados por los programas en cuanto se refiere a contenido y metodología, y a la hora de ser evaluados por los técnicos del departamento de currículum de la Secretaria de Estado de Educación, Bellas Artes y Cultos. El propósito de que en los libros de Lengua Española es que cada tema inicie con una lectura, es que el alumno aprenda a leer con intención, a interpretar códigos que contienen mensajes, a penetrar los significados de las palabras, a valorarlos y a incoporarlos a su experiencia.
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Thomas, E. V. "H. Geertman and J. J. de Jong (Eds), Munus non ingratum. Proceedings of the International Symposium on Vitruvius' de Architectura and the Hellenistic and Republican Architecture, Leiden, 20–23 January, 1987 (Babesch Supplement 2). Leiden: Bulletin Antieke Beschaving, 1989. Pp. 239, numerous illus. ISBN 91-72821-01-7. Fl. 135. - Vitruve, De l'architecture, Livre I. Ed. and trans. P. Fleury (Association G. Budé). Paris: Les Belles Lettres, 1990. Pp. cxviii + 367, 5 pls, 14 figs, 3 plans, ISBN 2-251-01349-0." Journal of Roman Studies 81 (November 1991): 210–11. http://dx.doi.org/10.2307/300528.
Full textDissertations / Theses on the topic "7 - Belles arts"
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Valle, Cordero Alejandro Javier del. "Primitivismo en el Arte de Ana Mendieta." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/387127.
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La carrera artística de Ana Mendieta se enmarca dentro de los movimientos estéticos de la segunda mitad del siglo XX. El primitivismo en el arte es uno de ellos. Esta investigación estudia en profundidad cómo fue su primitivismo, pasando por el análisis formal de algunas de sus obras con influencias directas del arte africano, hasta llegar a un desarrollo teórico sobre la performance ritual que amplía el primitivismo como un recurso del arte más allá del objeto estético. El contexto histórico durante la formación académica de Ana Mendieta y su paso por Nueva york son las claves que proporcionan una visión de sus obras hasta ahora inédita. La aplicación de una metodología comparativa ha permitido establecer conexiones entre el arte, la antropología, la arqueología, la historia colonial de España, la historia de las religiones y el feminismo.The career of Ana Mendieta is part of the aesthetic movements of the late twentieth century. Primitivism in art is one of them. This research examines in depth how her primitivism was, from the formal analysis of some of her artworks directly influenced by African art, to developing a theoretical rationale of the ritual performance that extends primitivism as an artistic resource beyond the aesthetic scope. The historical context behind the academic training of Ana Mendieta and the time she spent in New York are the keys that provide a glimpse into her hitherto unpublished works. The application of a comparative methodology has allowed to establish connections amongst art, anthropology, archeology, colonial history of Spain, the history of religion and feminism
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Lupercio, Cruz Carlos. "Aleix Clapés (1846-1920) y Manuel Sayrach (1886-1937) : en los márgenes del modernismo." Doctoral thesis, Universitat Politècnica de Catalunya, 2013. http://hdl.handle.net/10803/129415.
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The thesis shows the first monographs of Aleix Clapés and Manuel Sayrach, two important individuals of Catalonian culture, whose works were developed between 1880 and 1937; a long period which saw many importan historical events take place which were reflected in their work. These works on their merit alone, deserve a level of careful attention which they have never before received . This is the principal jusfitication of this thesis and the core reason why both bodies of work have been united within the scope of a single study. But there are other important parallels between them : Originality, anachronism, stylish ambiguity and extravagance; common characteristichs that allow us to understand a priori the problems faced by historians when trying to classify and interpret these works : They are such outsiders of the traditional catalogue of modern style that they are paid little attention. Nevertheless, there is another important connection between them : Antoni Gaudi. Competitor, close friend and colleague in important projects for Clapés; while for Sayrach, a mythical and inspirational figure , against whom he contrasted his works and architectural theories.lf we consider the difficulty with which the extraordinarily creative output of Gaudi was taken on board by the traditionally conservative local historiography, then the works of Clapés and Sayrach, being so close both formally and ideologically to those of Gaudi come up against a similar, but even greater, problem in that is not easy to place into the historiography of Catalonian art works that, while eccentric, are also "inferior" to those of Gaudi.
For this reason , our theory distances its elf from the conventions of the traditional discourse of modernism with the ¡ntention of getting closer to the historical truth. This new perspective allows the works and their authors to be truly considered artistic productions of great value and worthy of protection. The abundance of mentions and commentaries about Clapés' work in the contemporary press demonstrates that our initial hypotesis was correct: Clapés' place in history is merely a pale shadow of the real individual in his time and in his world . On the other hand , ¡nterest is awakened more and more in "casa Sayrach", the main work of Sayrach which highlights the disconnect between the role given to him by history and the authentic dimension of the individual.
Aleix Clapés (1846-1920) and Manuel Sayrach (1886-1937) were born and died in the province of Barcelona. They followed different reative, literary and cultural activities . Aleix Clapés with his pictures , advanced the local syrnbolism and he can be considered expressionist avant la lettre. The preflerence that Eusebi Güell and Pere Mila gave to his pictorial work, expresses de high esteem in which he was held by the Catalonian bourgeois. Clapés also designed the furniture for the entrance and living room for the Ibarz family (1902), the most powerful and beautiful of Catalonian syrnbolism, and in addition , bought and ran the influential magazine publication "Hispania" in its second period (1903). Manuel Sayrach, received the title of architect in 1917, when he had already reformed the family retreat known as "La Torre dels dimonis" (Sant Feliu de Llobregat, Barcelona , 1909-1913) and when he was finishing building the "casa Sayrach" (Barcelona, 1914-1918). Some years later, Sayrach built the "casa Montserrat" (Barcelona , 1926). He also conceived a dramatic project: "Els drames de la llum", from this project Sayrach published "Abelard i Eloïsa" (1919) and "Reigzel" (1920). He entered the field of political ideology with his work "República i Constitució" (1931).
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Rodríguez, Pomares Olga. "Técnicas y acabados de superficie sobre la escultura en piedra. Investigación práctica con tratamientos químicos y mecánicos en mármol." Doctoral thesis, Universidad de Murcia, 2011. http://hdl.handle.net/10803/32047.
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En esta Tesis Doctoral, perteneciente a las materias aplicadas y experimentales, se ha realizado un estudio de las diferentes técnicas y tratamientos de superficie de la escultura en piedra, con el fin de determinar las metodologías y los procesos utilizados por los artistas que han realizado de forma plástica, un acercamiento a los sistemas desarrollados en la investigación. Este estudio de las distintas etapas de la escultura, nos han servido como referencia para establecer modelos, que tras un análisis comparativo, han podido ser utilizados en posteriores aplicaciones prácticas, en un trabajo propio artístico.
De esta forma, bajo una propuesta de estudio teórico del relieve, el grabado y la talla directa, hemos desarrollado una Metodología basada en la planificación y ejecución de unos ensayos con diferentes técnicas como el grabado con ácido, la incrustación del metal, transferencia e impresión digital UVI y la acción de la naturaleza y los procesos industriales.In this Doctoral Thesis that belongs to the applied and experimental matters, has been made a deep study of the different techniques and treatments of surface in the stone sculpture along the history, with the aim of determine the methodologies and processes used by the artists, who have made, in a fine form, an approach to developed system in the research. This study of the different sculpture stages, has served as reference to establish models that have been utilized in posterior practical applications. In this sense, under a theoretical study proposal of the relief, engraving and direct carving, having a large number of specific cases studies at our disposal, it has been developed a methodology based on the essays’ planning and implementation, like engraving with acid, encrusted metal, transfer techniques, digital print UVI, nature action and industrial processes.
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Vázquez, Rodríguez Gerardo. "Detrás del objeto de diseño y arte, silencio e Incertidumbre: El caso de Monterrey, México." Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/129544.
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La conformación de los pueblos y ciudades estarían entrelazados entre varios sistemas de existencia permanentes; imaginarios y tangibles coinciden en un solo escenario que conjuga múltiples vidas.Niklas Luhmann menciona que la sociedad en sí no estaría formada por los individuos, sino por los vínculos de comunicación que de ellos emergen, estos lazos serían canales con abundante información y forjarían el entretejido social, de un individuos a otro. Así los sistemas de objetos serían el constante reflejo emergente de estos vínculos comunicativos e informativos, dando carácter a la organización de formas que rodean a un individuo y reafirmando la información que los genero. Las personas estaríamos permanente condicionados a moldear un mundo colectivo inherente a la identidad y la conformación de la misma. El configurar está colectividad estaría ligada inmutablemente a la decisión de rodear situaciones por medio de objetos determinantes del discurso identitario asignado a la misma. Asimismo la vida transcurre a través de los objetos que nos rodean y precipitan están situaciones, generando y reafirmando comunicación, identidad e información.Las ciudades se convertirían así en los grandes contenedores de situaciones enlazadas entre objetos, identidades e individuos, reafirmando y construyendo intangibles de comunicación e identidad. Los objetos que forman lo que conocemos como una ciudad o un entorno estarían referidos a estos elementos no físicos antes que a los medios matericos, reafirmando discursos imaginarios antes que esquemas propios de una función o la propiedad material.Así en esta investigación planteamos el supuesto de descubrir la condición de información y comunicación, inclusive en los objetos de arte y diseño que han determinado a través de los años a la ciudad de Monterrey, México, determinando el estudio del particular caso de hibridación que se daría entre los naturales de la región geográfica y sus objetos, a la par de la llegada de familias españolas de diversos orígenes. El desconocimiento de los imaginarios que entrechocan dentro de la mezcla suscitada de culturas nos lleva a plantearnos los términos de incertidumbre y silencio. También sería la metáfora prescrita por la diferencia de plataformas de idioma, desconocimiento de los otros, tanto culturalmente, como en su proceder permanente para autoconstruir un entornos significativo y de permanencia ante determinada geografía.The conformation of the towns and cities would be intertwined between various systems of permanent existence, imaginary and tangible agree on one stage that combines multiple lives.Niklas Luhmann mentions that society itself would not be made by individuals, but by the communication links of them emerge, these bonds would be information-rich channels and forge the social fabric of an individual to another. So would object systems the constant reflection of these links emerging communicative and informative, giving character to the organization of forms which surround an individual and reaffirming that the gender information.People would permanently shape a world conditioned to inherent collective identity and shaping it. The set is community would immutably linked to the decision to surround situations by determining the identity discourse objects assigned to it. Life goes also through the objects around us are rushing situations, and reaffirming generating communication, identity and information.The cities would thus become large containers of situations linked between objects, identities and individuals, reaffirming and building communication and identity intangibles. The objects that make up what is known as a city or an environment would be related to these physical elements rather than materia media, reaffirming imaginary speeches before a characteristically function or material property.So in this investigation raised the event to discover the condition of information and communication, including objects of art and design that have determined over the years to the city of Monterrey, Mexico, private study determining the hybridization event is give between natural geography and its objects, on par with the arrival of Spanish families from diverse backgrounds.Ignorance of the imaginary clashing raised within the mixture of cultures leads us to consider the terms of uncertainty and silence. Metaphor also be prescribed by the difference in language platforms, ignorance of the other, both culturally and in its permanent proceed to self-construct one significant environments and permanence to certain geography.
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Gnezdilova, Anastasia. "Sculptor Nina Slobodinskaya (1898-1984). Life and search of creative boundaries in the Soviet epoch." Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/334701.
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Nina Konradovna Slobodinskaya - sculptor of Soviet epoch and space. Her creative work embraces more than 50 years and mirrors all artistic tendencies, actual subjects, main sculptural genres of the most contradictory, bloody period of XX century.
Undoubtedly, the artist belongs to her time, sensitively facing and reacting at issues and challenges posed by the epoch, reflecting them in her artworks. However, the sculptor was able to become an independent master, choosing deeply human and supertemporal subjects in her creative work. Finally, following her proper artistic inclinations she contradicted the strict artistic rules of the Soviet reality. Hence, Nina Slobodinskaya opposed herself to the State’s demands, dooming her creative work to the social disregard and ignoration, and therefore was consigned to the oblivion.
Noble by origin, being a part of Russian cultural intelligentsia (writers, artists, philosophers, scientists), she was capable to adapt and transmit her world vision’s beliefs into sculptures, enriching them with symbolical multi-level content. Accordingly, discovering a sculptor with a proper artistic vision and a developed individual style we also bring to light the philosophical and spiritual beliefs of Russian cultural elite, which by their system of values still belonged to the former Imperial Russia and, therefore, was condemned to the extermination by Lenin’s and Stalin’s policy.Aquesta tesi doctoral estudia l’obra de Nina Konradovna Slobodinskaya (1898-1984), escultora a l’època soviètica. La seva obra creativa abraça més de 50 anys i inclou totes les tendències artístiques, temes actuals i tota classe de gèneres culturals en el període més contradictori i sanguinari de l’art rus del segle XX. Nina Slobodinskaya és una artista del seu temps, que va reaccionar als reptes del moment i que va saber reflectir-ho en les seves obres. No obstant, encara que es trobés immersa en plena era soviètica, va crear de manera independent, escollint temes humanistes i atemporals. Com que va seguir les seves pròpies inclinacions artístiques, va contradir les estrictes normes soviètiques, es va oposar a seguir els dictàmens artístics de l’Estat, i això va fer que se la menystingués i se la ignorés, i va caure a l’oblit. D’origen noble i pertanyent al cercle d’artistes, filosofs, esculptors i escriptors de l’ elit cultural russa, va saber captar i transmetre els seus valors i la seva visió del món a les seves escultures; les va enriquir amb un profund contingut simbòlic i espiritual. D’aquesta manera descobrim una escultora amb una visió artística pròpia i un estil individual que ens porta a entreveure creences espirituals i filosòfiques, inherents a la tradició russa, que pel seu sistema de valors encara pertanyia a la Rússia imperial que, per tant, va estar condemnada a l’extermini per les polítiques de Lenin i Stalin
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Benítez, Valero Laura. "Bioarte. Una estética de la desorganización." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/129126.
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Bioarte. Una estética de la desorganización se centra en cómo la relación biotecnología y
prácticas artísticas ha dado lugar a preguntas sin precedentes sobre el concepto de cuerpo, de vida,
sobre la relación entre arte, ciencia, sociedad, ética, estética, economía y política.
El uso de la biotecnología y las entidades semi-vivas como partes esenciales de la investigación
artística nos permite formular preguntar en torno cuál ha sido la evolución del concepto vida desde
una perspectiva filosófica. Los proyectos artísticos presentados en esta tesis muestran la necesidad
de re-evaluación de las taxonomías, así como permiten nuevos discursos a partir de las diferentes
relaciones que establecemos con estas nuevas entidades, discursos sobre la humanidad y sobre la
relación entre humanos y animales no-humanos. Este tipo de proyectos artísticos se pueden
convertir en un conjunto de puntos desde los cuales analizar posibles cuestiones éticas sobre el uso
de materiales biológicos con fines artísticos, o el rol de la filosofía en la investigación artística.
Esta tesis establece una conexión entre una selección de proyectos artísticos y una selección
tanto de conceptos como de problemas filosóficos, como las cuestiones éticas relativas al uso de
material biológico con fines artísticos, el uso de animales no-humanos como parte de proyectos
artísticos, el rol del arte en la investigación o el rol de la filosofía contemporánea en la investigación
artística, así como supone un intento por mostrar cómo la innovación tecnológica y la investigación
científica se están convirtiendo en cuestiones claves para la estética contemporánea. Una estética de
la desorganización propone tomar las potencialidades de estas prácticas artísticas para desorganizar
el cuerpo, desorganizar los códigos, las narrativas y las taxonomías. Supone la composición de un
paisaje fractal, un collage que posibilita nuevas construcciones desde el extrañamiento, nuevas
preguntas sobre el cuerpo, la vida, lo ético y lo político. Una desorganización que permite repensar-
se en un plano extendido, una estética que nos permite huir de una organización unificante y
jerarquizante.Bioart. An Aesthetic of disruption focuses on how the relationship between biotechnology and artistic practises has raised unprecedented questions about body, life, about the relationship between art, science, society, ethics, aesthetics, economy and politics. The use of biotechnology and semi-living entities as an essential part of artistic research allows us to ask which has been the evolution of Life concept from a philosophical perspective. These projects show us the necessity of a re-evaluation of standard taxonomies, and can also enable new discourses on the different relationships we establish with these "new entities", about humankind and the relationship between humans and non-humans animals. This kind of artistic works can become a set of focal points from which to analyse possible ethical questions about the use of biological material for artistic purpose, or the role of philosophy in artistic research. This PhD dissertation connects some bioartistic practises with some philosophical concepts and issues, as the ethical claims of using biological material for artistic purposes, the ethical claims of using non-humans animals as a part of the artworks, the role of art in research, the role of contemporary philosophy in artistic research, and tries to show how technological innovation and science research are becoming key to contemporary aesthetics. An aesthetic of disruption proposes to take the potential of these artistic practises to disrupt the body, disrupting the codes, narratives and taxonomies. It involves the composition of a fractal landscape, a collage that allows us a new construction from the estrangement, new questions about the body, life, ethics and politics. A disruption that allows to re-think-us in an extended-plane, an aesthetic that allows us to escape from an unifying and hierarchic organisation.
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González, García Ainize. "Cuando el lápiz se detiene surge la imagen: Las artes visuales (y sus procesos) en la obra de Joan Brossa." Doctoral thesis, Universitat Autònoma de Barcelona, 2012. http://hdl.handle.net/10803/117618.
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Se trata de un trabajo que estudia cuál es la relación de Joan Brossa con las artes visuales. En este sentido, la investigación transita a través de territorios diversos. Así, en el primer capítulo se analiza su poesía visual; en el segundo la aparente evolución diferenciada entre su creación y la de otros artistas de su círculo; en el tercero el supuesto punto de inflexión que se da en su obra con la publicación del libro Em va fer Joan Brossa en 1951; en el cuarto su gusto por lo onírico y lo cotidiano, la estructuración de la realidad a través de la fotografía o la aplicación de procesos propios de otras artes como el collage y el montaje cinematográfico en su producción poética; en el quinto el interés por el movimiento en su teatro de carácter más experimental y en el sexto la cosificación de su poesía a través de sus poemas-objeto. Finalmente, como conclusión, se resuelve hasta qué punto esa relación con las artes visuales determina el resultado final de su obra, al tiempo que se evidencia cómo dicho vínculo condiciona la percepción y teorización sobre su figura.This PhD thesis studies the relationship between Joan Brossa and the visual arts. The work explores diverse fields and topics. In this way, the first chapter is devoted to the analysis of the author’s visual poetry; the second focusses specifically on the apparent differentiated evolution of his work and its linking with the work of other artists of his circle; the third investigates the turning point attributed to his work after the publication of Em va fer Joan Brossa in 1951; the fourth analyses Brossa’s taste for oneiric and everyday elements, his structuring of reality through photography, as well as the adoption of other arts’ techniques such as collage and film editing in his poetic production; the fifth deals with the author’s work with movement in his experimental plays and the sixth one studies the phenomenon of reification in Brossa’s poetry through his so called “object poems”. In the final conclusive chapter it is argued to what extent Brossa’s relationship with the visual arts determined the final result of his work and clearly conditions both the perception of and the theorising about the poet.
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Barniol, López Montserrat. "Sant Antoni Abat a Catalunya en els segles XIV-XV: relat, devoció i art." Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/129074.
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Aquesta tesi estudia el relat, el culte i la iconografia de sant Antoni Abat a la Catalunya dels segles XIV i XV, tot i que aquestes limitacions geogràfico-temporals es traspassen quan la investigació ho requereix. Si bé en altres indrets aquest tema ha estat estudiat, no era així a Catalunya, de manera que la tesi pretén omplir aquest buit historiogràfic, tot i que amb un enfocament diferent als treballs d’abast més ampli o que se centren a Itàlia i a una part de França, posant l’èmfasi en les imatges del sant i en la seva iconografia però també al relat i al culte. Tot i tractar-se d’una tesi realitzada des de la història de l’art, aquesta interdisciplinarietat era inevitable: l’estudi de la iconografia –el propòsit inicial del treball- requeria també l’anàlisi del llegendari, al qual la historiografia havia prestat menys atenció de la que es mereix. Això ha permès poder arribar a conclusions de caire més general, però també a altres centrades en aspectes més concrets, siguin referents als textos, a la devoció o a la iconografia.
Després d’un capítol dedicat a l’eremitisme, a la seva presència en la literatura medieval i al culte als sants eremites, que ens serveix per contextualitzar sant Antoni i el seu culte, la tesi aborda els tres aspectes citats: el relat, el culte i la iconografia del sant. Seguidament s’inclou el catàleg de les obres amb escenes narratives i les conclusions.
L’estudi del relat antonià arrenca amb els textos escrits poc després del traspàs de l’eremita i la seva difusió a Catalunya. Això ha implicat analitzar alguns compendis hagiogràfics, entre els quals els diferents exemplars de la Llegenda àuria, que m’ha dut a replantejar algunes hipòtesis i afirmacions que havia fet la historiografia. Seguidament, es tracten els textos antonians escrits durant els segles medievals, que van enriquint el llegendari, així com la seva difusió en àmbit català. A més a més, es mencionen algunes notícies hagiogràfiques, incloses en textos de diversa índole. Amb tot plegat, queda palesa la vivacitat del relat.
Quant al culte al sant, s’aborda el transcendent paper que va jugar l’orde dels antonians i la seva expansió en la potenciació del culte. Igualment, es tracta com n’ha estat de determinant per aquest culte la protecció que el sant ofereix als animals, que ve donada tant pel llegendari, com per la transcendència del porc per l’orde i per la situació de la festivitat del sant en ple cicle hivernal. Seguidament es posa en entredit una especialització que la historiografia havia donat al sant, la de protector de vaixells en alta mar, i s’analitza l’amplitud de la devoció i com aquesta es tradueix visualment.
El següent capítol analitza la iconografia de sant Antoni així com les diferents escenes narratives que trobem a la plàstica catalana, des de les més recurrents fins a aquelles més minoritàries. A diferència del què passa en altres indrets, les dificultats que trobem a Catalunya per estudiar-la són destacables. D’entrada, perquè s’han perdut molts cicles dedicats al sant, entre els quals alguns d’especialment remarcables, i perquè desconeixem molta de la informació relativa a les peces. Aquesta, en cas que es conegui, es trobarà a les fitxes del catàleg raonat, on també s’inclouen imatges i la transcripció dels documents més destacats. Finalment, les conclusions recullen les aportacions del treball, constatant, d’una banda, com s’han resolt alguns aspectes i, de l’altra, com altres queden encara oberts, sense deixar d’apuntar possibles futures vies de recerca.This dissertation studies Saint Anthony’s text, cult and iconography in Catalonia in the XIVth and XVth, although these geographical and chronological limitations are broken when necessary. This subject has been studied more in general or giving attention to other countries, but not to Catalonia. This is what this dissertation pretends to do, but with a different approach from what other studies did, focusing on images and their iconography but on text and devotion as well. Even if this is an Art History dissertation, the interdisciplanary approach was needed: studying the iconography implied analyzing the texts as well, in which historiography had paid less attention than the one it deserves. This allowed us to reach to general conclusions but also to other related to more concrete aspects, wheter about text, cult or iconography. After the first chapter dedicated to the heremitism, its presence in medieval literatura and the cult to hermitic saints –which contextualizes the saint and his cult- this dissertation studies saint’s text, devotion and iconography. Then, a catalogue compiles all the information related to the pieces and, at the end, we find the conclusions. The study of the texts starts with the ones written soon after saint’s death and their spreading in Catalonia. This lead me to analize some hagiographical compendiums, among them different Catalan Golden Legend manuscripts, which made me think about some hypothesis and statements historiography had defended. Then, we focus on the other text written during Middle Ages, which made saint Anthony’s hagiography richer, and on how they were well-known in Catalonia. Besides, some hagiographical news gathered in other codices are included. With all, the vivacy of the saint’s hagiography is clear. As far as the cult to the saint is concerned, the role that the order of Saint Anthony played in promoting it is studied here. Furthermore, the importance of the saint’s protection on the animals for the devotion is analized as well. This protection is justified by the text, the importance of the pig for the order and for the situation of the saint’s festivity during the Winter season. Then, I wonder about the saint’s speciallity of saving ships about to shipwreck. Finally, the wideness of the cult and its visual traduction is shown. The following chapter is dedicated to study saint Anthony’s iconography as well as the episodes represented in Catalan art, from those that are more famous to the ones that only appear few times. In Catalonia, studying these images is so difficult because of the lost of many relevant information, which does not happen in other countries. Besides, some of the greatest cycles are lost, too. Anyway, the known information about the different pieces is compilled in the catalogue, which also includes some images and copied documents, in case they are important. At the end, the conclusions gather the contributions of this dissertation, showing, on the one hand, how some aspects have been solved and, on the other hand, how others are still open. Some possible ways of future research have been indicated as well.
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Vega, Suriaga Edgar. "Eduardo Solá Franco, Wilson Paccha, Transtango: estrategias de las masculinidades en Ecuador." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/134831.
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La presente tesis doctoral titulada “Eduardo Solá Franco, Wilson Paccha, Transtango: estrategias de las masculinidades en Ecuador” plantea las dificultades, posibilidades y límites de la representación de las masculinidades en las artes plásticas y en el arte contemporáneo en Ecuador. Para ello, en un primer capítulo se propone un análisis de las masculinidades contemporáneas como resultado de la emergencia del sujeto masculino moderno decimonónico. En ese análisis, se plantea que en el siglo XIX surge una masculinidad hegemónica y dominante como resultado de la revisión cientificista de los discursos mítico/religiosos que dominaron y dieron sentido a lo que conocemos como occidente. En este capitulo se examina cómo en dicha masculinidad convergen las tecnologías de la visión, los dispositivos de clasificación social, los discursos que re-racializaron a las poblaciones de las excolonias, y los discursos médicos y psicológicos que legitimaron la negación y subordinación del cuerpo, del cuerpo de las mujeres, de lo femenino, de los cuerpos feminizados, y de la homosexualidad. En este gran marco referencial, este capítulo contextualiza el régimen de visión masculino y las políticas de representación artísticas de la masculinidad en Ecuador a lo largo del siglo XX.
En el segundo capítulo, la investigación da cuenta de cómo la obra del ecuatoriano-catalán Eduardo Solá Franco (Guayaquil, 1915 - Santiago de Chile, 1996) propone una estrategia estética irreverente respecto a la representación del cuerpo y la masculinidad en el contexto local del momento. En este capítulo se revisa cómo la obra de este artista contravino el “deber ser” de las corrientes estéticas de la primera mitad del siglo XX en Ecuador, tan dominadas por el Indigenismo. Frente a ellas, la obra de Eduardo Solá Franco aquí estudiada nos presenta una masculinidad teatralizada y homoerótica que contradice no solo el ideal de corporalidad exigido a las representaciones estéticas en el mencionado contexto, sino a la configuración misma de la masculinidad como ideal cerrado, sólido y dominante. En este capítulo se propone además que esta masculinidad homoerótica, es un gran subterfugio que opera como reverso de las prácticas heteronormadas en las cuales el autor inscribió su homosexualidad.
En el tercer capítulo, se presenta la obra del quiteño Wilson Paccha (Quito, 1972) como expresión de una teatralización extrema y estridente de la masculinidad en Ecuador. En ese sentido, en este capítulo se revisa cómo la parodia, el histrionismo, la estridencia cromática y el exceso dominan la representación de unos cuerpos masculinos que llevan inscrita la marca poscolonial. Justamente, este capítulo destaca que la acción del pintor quiteño cuestiona la preocupación por la identidad étnico-racial como lugar canónico y prevaleciente en las representaciones estéticas ecuatorianas a lo largo del siglo XX. A partir de este cuestionamiento, el sujeto masculino que propone la obra de Wilson Paccha se mostrará escéptico y burlesco frente a los discursos identitarios que no solo dominan la estética del país andino sino que además dan contenido al imaginario del Estado nacional. Como consecuencia de esta postura estético/política, este capítulo da cuenta de que la obra de Wilson Paccha deviene en una crítica a la masculinidad hegemónica y dominante, que además es blanco/europea, heterosexista, racista y sexista.
A modo de apéndice, esta investigación analiza una expresión artística contemporánea que registra la actual crítica estética y política a los mecanismos de opresión generizada de los cuerpos en el Ecuador contemporáneo. En este apéndice se proponen las implicaciones del performance Transtango, en el contexto del activismo de las diversidades sexo-genéricas en el país andino, y como gesto de apertura al debate incipiente de la relación entre género y arte en la escena artística ecuatoriana.This, the doctoral thesis entitled "Eduardo Solà Franco, Wilson Paccha, Transtango: Strategies of Masculinities in Ecuador" poses the difficulties, possibilities and limits of the representation of masculinities in the plastic arts and contemporary art in Ecuador. To this end, the first chapter puts forward an analysis of contemporary masculinities resulting from the emergence of the modern nineteenth century masculine subject. In this analysis it is proposed that in that century a hegemonic and dominant masculinity emerged as a result of the scientificist revision of the mythic/religious treatises which dominated and gave sense to what we know as the West. In this chapter is an examination of the convergence, in this masculinity, of the technologies of vision, the contrivancies of social classification, and the medical and psychological discourses which legitimise the negation of the body, of the body of the woman, of the feminine, of feminised bodies, and of homosexuality. In this wide referencial framework, this chapter contextualises the regime of masculine vision and the politics of artistic representation of masculinity in Ecuador throughout the twentieth century. In the second chapter, the investigation gives an account of how the work of the Ecuadorian-Catalan Eduardo Solà Franco (Guayaquil, 1915 - Santiago de Chile, 1996) propounds an irreverent esthetic strategy with respect to the representation of masculity and the body in the local context of the moment. In this chapter is a revision of how this artist's work contravenes the "ought to be" of the esthetic currents of the first half of the twentieth century, so dominated by Indigenism. In contrast, this work presents a theatricised homoerotic masculinity which contradicts not only the ideal of corporality called for in esthetic representations in the above-mentioned context, but also the same configuration of masculinity as a sealed, solid and dominant ideal. This chapter further proposes that this homoerotic masculinity is a great subterfuge operating in reverse of heteronormal practices in which the author inscribed his homosexuality. The third chapter presents the work of Wilson Paccha (born Quito, 1972) as the expression of an extreme and strident theatralisation of masculinity in Ecuador. In that way, this chapter examines how parody, histrionics, chromatic stridence and excess dominate the representation of certain masculine figures which bear the post-colonial footprint. Precisely, it emphasises that the action of this artist from Quito questions the preoccupation for ethno-racial identity as a canonic and prevalent position in the esthetic representations of Ecuador throughout the twentieth century. Starting from this questioning, the masculine subject which the work of Wilson Paccha puts forward is shown to be sceptical and burlesque facing identical discussions which not only dominate the Andean state, but also give substance to the imaginary of the national state. As a result of this esthetic/political posture, this chapter gives an account of how the work of Wilson Paccha evolves into a criticism of hegemonic and dominant masculinity which is furthermore white/european, heterosexist, racist and sexist. By way of appendix, this investigation analyses a contemporary artistic expression which records the current esthetic and political criticism of the mechanisms of opression of the body in contemporary Ecuador. The appendix puts forward the implications of the performance Transtango, in the context of the activism of the sexual diversities of the Andean state, and as a gesture of the widening insipient debate of the relationship between gender and art in the artistic scene of Ecuador.
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Matrán, Bea Casilda. "Arte y psicobiografía : un estudio de la obra gráfica de Hans Christian Andersen." Doctoral thesis, Universidad de Murcia, 2015. http://hdl.handle.net/10803/307221.
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Esta investigación aborda por primera vez la psicobiografía de Hans Christian Andersen, desde su obra gráfica. La metodología empleada también es inédita en este tipo de estudios: análisis panofskyano contextualista y hermenéutica psicoanalítica. Los resultados nos han arrojado, a través del significado otorgado a las seis categorías elaboradas ad hoc: Complejo de Edipo, Eros, Thanatos, Represión, Sublimación y Fantasía, que nuestro autor tenía una personalidad egocéntrica y ególatra y de afectividad ciclotímica .Se ha concluido que existe en él una omnipresencia obsesiva de la muerte, frustración amorosa, y “temeroso servilismo” como "mediador" entre su "realidad traumática" y su "obra artística". Toda su obra es un egregio “retorno de lo reprimido” con un “reiterado empleo de la antropomorfización”. Existe un preámbulo del surrealismo. Aparece la catatimia del recuerdo y la pseudología fantástica como elementos que permiten a Andersen "fabular" y contrapesar el complejo de inferioridad que experimenta en sus relaciones sociales.This research addresses for the first time psychobiography of Hans Christian Andersen, from his graphic work. The methodology is also unpublished in this type of study: panofskyano contextual analysis and psychoanalytic hermeneutical.The results have thrown us through the meaning given to the six categories elaborated ad hoc: Oedipus complex, Eros, Thanatos, Repression, Sublimation and Fantasy, that our author had a sel-centered personality and egotistical and cyclothymic affectivity. It has been concluded that there is in hi an obsessive omnipresence of death,loving frustration,and “fearful servility” as a mediator between his traumatic reality and his artistic work. All his work is an eminent “return of the repressed” with a “repeated use of the anthropomorphization”.There is a preamble of surrealism. It appears the catatimia of keepsake and the fantastic pseudologia as elements that allow Andersen “fabulate” and counterbalance the inferiority complex which experiences i their social relations.
Books on the topic "7 - Belles arts"
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1874-1949, Torres-García Joaquín, and Museo de Bellas Artes de Murcia, eds. Joaquín Torres-García, 1874-1949: Museo de Bellas Artes de Murcia, 7 mayo-5 julio 2015. Región de Murcia: Consejeria de Educación, Cultura y Universidades, 2015.
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Miguel, Fernández-Cid, and Círculo de Bellas Artes (Madrid, Spain), eds. XVI Salón de los 16: 13 diciembre 1996-7 enero 1997, Círculo de Bellas Artes, Madrid. Madrid: Ediciones del Limón, 1996.
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Rayo, Omar. Omar Rayo: Exposición antológica : veinte años, cien obras : Museo del Palacio de Bellas Artes Sala Nacional, México D.F. México julio 7-agosto 7, 1994. Bogotá: Colcultura, 1994.
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Cuevas, José Luis. Exposición "José Luis Cuevas obra reciente": 7 de septiembre al 2 de octubre de 1994, Santiago, Chile, Museo Nacional de Bellas Artes. Santiago, Chile: Lo Museo, 1994.
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Museo de Bellas Artes de Bilbao, ed. Hay más en ti: Imágenes de la mujer en la Edad Media, siglos XIII-XV : Museo de Bellas Artes de Bilbao, 7 de febrero-15 de mayo de 2011. [Bilbao]: Museo de Bellas Artes de Bilbao, 2011.
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Andrea, Emiliani, Rave August, Boschloo Anton W. A, Pinacoteca nazionale (Bologna Italy), Staatsgalerie Stuttgart, and Gosudarstvennyĭ muzeĭ izobrazitel'nykh iskussty imeni A.S. Pushkina., eds. Giuseppe Maria Crespi, 1665-1747: Pinacoteca nazionale di Bologna, Staatsgalerie Stuttgart, Puskin Museum, Mosca : Bologna, Pinacoteca nazionale e accademia di belle arti, Palazzo Pepoli Campogrande : 7 settembre-11 novembre 1990. Bologna: Nuova alfa, 1990.
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Brusa, Elisabetta. 8 tesi per 150 anni. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-384-7.
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8 tesi per 150 anni è un filo rosso che parte dalle pagine di alcuni libri-tesi, preziosamente conservati tra le mura dell’Archivio Storico di Ca’ Foscari, per trasformarsi nel corso del 2018 nel simbolico volo di alcune rondini-studenti.Mettendo insieme voci provenienti dal passato e voci e corpi della nostra contemporaneità, Fucina Arti Performative Ca’ Foscari ha celebrato, nell’anno dei festeggiamenti per i 150 anni dell’Ateneo veneziano, gli otto Dipartimenti, dedicando ad ognuno di questi una performance realizzata partendo dall’elaborazione di una tesi.Spaziando cronologicamente (la prima tesi affrontata è del 1913) tra le diverse aree di studio – Economia, Studi Linguistici e Culturali Comparati, Scienze Molecolari e Nanosistemi, Filosofia e Beni Culturali, Studi sull’Asia e sull’Africa Mediterranea, Studi Umanistici, Management e Scienze Ambientali, Informatica, Statistica – e, itinerando tra la magnificenza di sale, aule magne, cortili e auditorium cafoscarini, Fucina – con i suoi abitanti virtuali, studenti provenienti da tutti e otto i Dipartimenti, a cui si sono aggiunti studenti del Conservatorio Benedetto Marcello e dell’Accademia di Belle Arti di Venezia – è riuscita a costruire un mosaico di narrazioni intrecciando temi, ricerche, personaggi storici e figure immaginifiche, che ha condiviso con un pubblico curioso e attento.Il testo che qui presentiamo è la testimonianza di quanto realizzato ed è costituito dalla raccolta degli otto copioni, elaborati di volta in volta da uno studente-curatore.La collaborazione con i direttori dei Dipartimenti, con docenti di discipline diverse, con il personale cafoscarino coinvolto nella sfida, oltre alla partecipazione di Ca’ Foscari Alumni e di altre istituzioni veneziane, insieme all’Agenzia di Venezia di Banca Mediolanum, ha trasformato quest’esperienza in un possibile modello universitario di ricerca performativa.Se chi legge riuscirà a mettere in movimento processi immaginativi, allora per tutti coloro che hanno vissuto e condiviso questo progetto ambizioso sarà un ulteriore traguardo raggiunto.Fucina Arti Performative Ca’ Foscari nasce con il nome di Cantiere Teatro Ca’ Foscari nel 2011 come spazio fisico e mentale, teorico e pratico, aperto durante l’anno accademico agli studenti dei vari Dipartimenti desiderosi di confrontarsi con tematiche e sviluppi del mondo delle arti performative, realizzando produzioni proprie. Nel 2018 Cantiere Teatro Ca’ Foscari, diretto da Elisabetta Brusa, si trasforma in Fucina Arti Performative Ca’ Foscari.
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Obra Social y Cultural CajaSur. and Museo Provincial de Bellas Artes (Seville, Spain), eds. Alonso Cano, 1601-1667: Y la escultura andaluza hacia 1600 : Córdoba, sala de exposiciones museísticas CajaSur, 25 de octubre a 26 de noviembre de 2000 : Sevilla, Museo de Bellas Artes de Sevilla, 1 de diciembre de 2000 a 7 de enero de 2001. Córdoba: Publicaciones Obra Social y Cultural CajaSur, 2000.
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Juan, San Nicolás Santamaría, Regoyos Darío de 1857-1913, Museo de Bellas Artes de Bilbao, Museo Thyssen-Bornemisza, and Museo Carmen Thyssen Málaga, eds. Darío de Regoyos, 1857-1913: La aventura impresionista : Museo de Bellas Artes de Bilbao, 7 de octubre de 2013-26 de enero de 2014; Museo Thyssen-Bornemisza, Madrid, 18 de febrero-1 de junio de 2014; Museo Carmen Thyssen Málaga, 26 de junio-12 de octubre de 2014. Bilbao]: Bilboko Arte Ederren Museoa = Museo de Bellas Artes de Bilbao, 2013.
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Visionarios: James Ensor, Max Klinger, Odilon Redon, Felicien Rops : Museu de Belles Arts de Valencia, 7-X/29-XI, 1998. Museu de Belles Arts de Valencia, 1998.
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Hsieh, Kevin, and Melanie Davenport. "Integrating the Arts into Early Childhood Teacher Education Through Technology." In Transforming K-12 Classrooms with Digital Technology, 208–18. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4538-7.ch011.
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Integrating the arts into the early childhood classroom is considered one of the effective pedagogies for children to learn different disciplines. However, most students in early childhood teacher education programs do not have experience in art, nor do they generally create art themselves. However, these future teachers and their students alike are surrounded with visual culture, immersed in technology, and grew up with television and other devices as indispensable parts of their lives, so these can provide portals for teaching them about the arts and interdisciplinary content integration. Teaching future Early Childhood Education (ECE) teachers creative pedagogies for integrating the arts into their classrooms through the use of technology is essential. The purpose is not just to help them understand the connections between the visual arts and what they see around them on television, tablet, and computer, but also, perhaps optimistically, to encourage them to be advocates for the arts in the lives of their students. In this chapter, the authors contemplate some of the challenges in building those connections for ECE students. They consider the questions: How can we build their confidence with this subject matter and guide them to integrate art forms through technology into their curricula? How can we foster in these future teachers a creative sensibility that recognizes the arts as a fundamental shared human means of expressing identity, understandings, beliefs, and ideas? How can we utilize very accessible community resources to encourage this transformation? This chapter describes a hands-on approach developed for guiding ECE majors who have little or no arts experience to understand, appreciate, and engage in the arts through technology and the interdisciplinary possibilities of Puppetry Arts. They describe the philosophy, process, resources, and outcomes of the course and offer recommendations for integrating the arts into early childhood education coursework through technology.
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Fernández-Laso, María Cristina, and Marta Tornero Ferrando. "El Museo de Bellas Artes de Valencia a través de una app móvil." In Nuevos retos del Patrimonio cultural: comunicación, educación y turismo., 35–56. Dykinson, 2021. http://dx.doi.org/10.2307/j.ctv1s7chrr.7.
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Berntson, Martin. "Popular Belief and the Disruption of Religious Practices in Reformation Sweden." In Re-Forming Texts, Music, and Church Art in the Early Modern North, 43–68. Amsterdam University Press, 2016. http://dx.doi.org/10.2307/j.ctt1gsmw8v.7.
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Bertolino, Giorgina. "Come deve essere una sala di esposizione?" In Storie dell’arte contemporanea. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-199-7/006.
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After World War I, from 1918 to 1920, Felice Casorati actively partecipated to Ca’ Pesaro exhibitions and we can therefore identify his new pictorial production in the frame of relationships between Venetian and Turinese environment. Ca’ Pesaro plays an essential role in this phase of his career, offering themes and models that can be traced back to the strategies that inspire his cultural action upon his arrival in Turin. Starting from a premise on his paintings and exhibitions of 1914-16, this contribution compares two cities, their structures and institutions; we can also better understand which works of art he assigns to different shows both in Turin and in Venice: at Ca’ Pesaro, at the Geri Boralevi Gallery, at the Circolo degli Artisti and at the Promotrice delle Belle Arti. The focus is on the exhibition intended as a social space and a milieu where artistic researches are made and discussed, on how Casorati setted up paintings in the rooms and in which sequence, on those different occasions.
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"7. James Fairman: The View from Outside." In The Landscape of Belief: Encountering the Holy Land in Nineteenth-Century American Art and Culture. Princeton University Press, 1996. http://dx.doi.org/10.37862/aaeportal.00149.013.
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Alias, Nor Aziah. "Incorporating Cultural Components into the Design of an Affective Support Tool for the Malaysian Online Distance Learners." In Cases on Globalized and Culturally Appropriate E-Learning, 1–26. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-61520-989-7.ch001.
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For the purpose of this case, culture is defined according to the UNESCO Universal Declaration of Cultural Diversity (2001) as the “set of distinctive spiritual, material, intellectual and emotional features of society or a social group, and that it encompasses, in addition to art and literature, lifestyles, ways of living together, value systems, traditions and beliefs”. Online learners and online distance learners are used interchangeably to denote learners who study online with no or minimal face to face interaction. The chapter will be organized in the following manner. A description of the cultural issues surrounding Malaysian online distance learning will be highlighted to provide a comprehensive picture of the problem in hand. The initiative to alleviate the problem will then be described in detail followed by a discussion of initial evaluation findings.
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Bultman, Scott, and Terry Magnuson. "Classical genetics and gene targeting." In Gene Targeting. Oxford University Press, 1999. http://dx.doi.org/10.1093/oso/9780199637928.003.0011.
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Gene targeting has provided considerable insight into the functions of numerous genes since it was developed a decade ago (1-4). A listing of the diversity of targeted genes and breadth of mutant phenotypes characterized to date can be obtained through mouse mutation databases (http://www.bis.med. jhmi.edu/Dan/tbase.html and http://biomednet.com/cgi-bin/ mko/mkohome.pl) (5, 6). However, in order to take full advantage of this technology, classical genetic methods should be utilized to extend our knowledge of individual genes to genetic pathways. In this chapter, the significance of genetics in gene targeting and phenotype interpretation are discussed. We describe how Mendelian and quantitative genetics can be exploited to map modifier loci or generate animals carrying mutations in two or more genes. We also discuss the development and application of classical genetic approaches towards elucidating gene function such as generation of allelic series and creation of deletion complexes throughout the genome in ES cells and mice. Several genetic considerations should be taken into account during the initial stages of a gene targeting experiment. In order to maximize homologous recombination efficiency, both arms of a targeting vector should be isolated from the same strain of mice as that of the ES cells (see Chapter 1 for details). Although most ES cell lines have been isolated from 129 strains of mice, significant genetic variation exists among the different substrains, which is sometimes evident by pronounced differences in coat colour (see Chapter 4, Table 1) (7, 8). For instance, 129/Sv mice (Aw/Aw, +c-Tyr +p/+c-Tyr +p ) have a white-bellied agouti (Aw) phenotype, whereas 129/SvJ mice (Aw/Aw, Tyrc p/T yrc-ch p) have a cream colour owing to the effect of mutant tyrosinase (Tyr) and pink-eyed dilution (p) alleles which are epistatic to Aw (9). Molecular analysis of different 129 substrains using microsatellite markers has provided insight into their genetic differences and revealed that 129/SvJ is particularly divergent and actually contaminated with genomic regions of non-129 origin (7, 8). Before the significance of this heterogeneity was appreciated, many targeting vectors were constructed from 129/SvJ DNA for use in 129/Sv ES cell lines.
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Taber, Douglass F. "Flow Chemistry: The Direct Production of Drug Metabolites." In Organic Synthesis. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190646165.003.0016.
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Several overviews of flow chemistry appeared recently. Katherine S. Elvira and Andrew J. deMello of ETH Zürich wrote (Nature Chem. 2013, 5, 905) on microfluidic reactor technology. D. Tyler McQuade of Florida State University and the Max Planck Institute Mühlenberg reviewed (J. Org. Chem. 2013, 78, 6384) applications and equipment. Jun-ichi Yoshida of Kyoto University focused (Chem. Commun. 2013, 49, 9896) on transformations that cannot be effected under batch conditions. Detlev Belder of the Universität Leipzig reported (Chem. Commun. 2013, 49, 11644) flow reactions coupled to subsequent micropreparative separations. Leroy Cronin of the University of Glasgow described (Chem. Sci. 2013, 4, 3099) combining 3D printing of an apparatus and liquid handling for convenient chemical synthesis and purification. Many of the reactions of organic synthesis have now been adapted to flow conditions. We will highlight those transformations that incorporate particularly useful features. One of those is convenient handling of gaseous reagents. C. Oliver Kappe of the Karl-Franzens-University Graz generated (Angew. Chem. Int. Ed. 2013, 52, 10241) diimide in situ to reduce 1 to 2. David J. Cole-Hamilton immobilized (Angew. Chem. Int. Ed. 2013, 52, 9805) Ru DuPHOS on a heteropoly acid support, allowing the flow hydrogenation of neat 3 to 4 in high ee. Steven V. Ley of the University of Cambridge added (Org. Process Res. Dev. 2013, 17, 1183) ammonia to 5 to give the thiourea 6. Alain Favre-Réguillon of the Conservatoire National des Arts et Métiers used (Org. Lett. 2013, 15, 5978) oxygen to directly oxidize the aldehyde 7 to the carboxylic acid 8. Professor Kappe showed (J. Org. Chem. 2013, 78, 10567) that supercritical acetonitrile directly converted an acid 9 to the nitrile 10. Hisao Yoshida of Nagoya University added (Chem. Commun. 2013, 49, 3793) acetonitrile to nitrobenzene 11 to give the para isomer 12 with high regioselectively. Kristin E. Price of Pfizer Groton coupled (Org. Lett. 2013, 15, 4342) 13 to 14 to give 15 with very low loading of the Pd catalyst. Andrew Livingston of Imperial College demonstrated (Org. Process Res. Dev. 2013, 17, 967) the utility of nanofiltration under flow conditions to minimize Pd levels in a Heck product.