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Journal articles on the topic 'Bazén'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Joubert-Laurencin, Hervé. "Bazin no kamikakushi (la disparition Bazin)." 1895, no. 67 (June 1, 2012): 100–113. http://dx.doi.org/10.4000/1895.4536.

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2

Allen, Richard. "“There Is Not One Realism, But Several Realisms”: A Review of Opening Bazin." October 148 (May 2014): 63–78. http://dx.doi.org/10.1162/octo_a_00175.

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There was a period when André Bazin was considered by some to be a simplistic, naive thinker whose writings were only of historic interest. In 1974, Screen regular Colin MacCabe, in a widely influential article, characterized Bazin as “a theoretically naive empiricist, a kind of idiot of the family.” How times have changed. In a new essay, MacCabe writes that Bazin realized that cinema creates a “complicated series of relationships between camera and setting” and concludes that Bazin was really a modernist, and so on the right side of history after all. Bazin, a modernist? I am not so sure. Ho

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3

Harvey-Davitt, James. "André Bazin." Historical Journal of Film, Radio and Television 34, no. 1 (2013): 138–40. http://dx.doi.org/10.1080/01439685.2013.852736.

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4

Cerisuelo, Marc. "Tout Bazin." Critique 857, no. 10 (2018): 814. http://dx.doi.org/10.3917/criti.857.0814.

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5

Schmid, M. "Andre Bazin." French Studies 68, no. 2 (2014): 288. http://dx.doi.org/10.1093/fs/knu063.

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6

S. Cunningham, Debbie. "EL PROBLEMA DE LA PENA DE MUERTE EN PARDO BAZÁN." SIGLO DIECINUEVE (Literatura hispánica), no. 17 (May 7, 2011): 73–89. http://dx.doi.org/10.37677/sigloxix.vi17.154.

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Este ensayo examina la novela La piedra angular de Emilia Pardo Bazán, desafiando las aseveraciones de previos críticos que es una novela de tesis a favor de la abolición de la pena de muerte. Basándome en las citas textuales y los ensayos escritos por Pardo Bazán, concluyo que la novela no es una novela de tesis, ni es abolicionista. La piedra angular mejor se caracteriza como una crítica a la implementación particular de la pena de muerte en España. Algunos críticos han examinado las teorías criminológicas que se presentan en la novela y han concluido que Pardo Bazán contrasta las escuelas p

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7

Le Forestier, Laurent. "« Bazin, ouvre-toi ! »." 1895, no. 67 (June 1, 2012): 114–25. http://dx.doi.org/10.4000/1895.4537.

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8

Stevenson, Diane. "Godard & Bazin." Film International 5, no. 6 (2007): 32–40. http://dx.doi.org/10.1386/fiin.5.6.32.

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9

Cooper, S. "Revisiting Andre Bazin." French Studies 68, no. 2 (2014): 288–89. http://dx.doi.org/10.1093/fs/knu037.

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10

Wiebels, D., K. Turnbull, V. Steinkraus, and A. Böer. "Erythema induratum Bazin." Der Hautarzt 58, no. 3 (2007): 237–40. http://dx.doi.org/10.1007/s00105-006-1130-y.

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11

García-Saldívar, Argelia. "Emilia Pardo Bazán." SIGLO DIECINUEVE (Literatura hispánica), no. 22 (May 8, 2016): 109–28. http://dx.doi.org/10.37677/sigloxix.v0i22.60.

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Este artículo analiza tres textos críticos de Emilia Pardo Bazán que pertenecen a distinta etapa literaria. La cuestión palpitante (1883), Los poetas épicos cristianos (1893) y La España de ayer y la de hoy (1899) reflejan el cambio de valores estéticos que afronta la literatura española decimonónica. En ellos es visible una reinterpretación a la relación entre ética-estética que permiten adoptar valores modernos transformadores de la cultura y sociedad.

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12

Bieder, Maryellen. "EMILIA PARDO BAZÁN." SIGLO DIECINUEVE (Literatura hispánica), no. 18 (May 7, 2012): 29–64. http://dx.doi.org/10.37677/sigloxix.vi18.123.

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Las veintiuna cartas escritas por Emilia Pardo Bazán a una extranjera, también autora, iluminan su vida y amistades. La angloescocesa que firmaba sus publicaciones como “Gabriela Cunninghame Graham” y se llamaba de la misma manera en España, viajaba con frecuencia a este país entre los años ochenta y su muerte en 1906. A finales de los ochenta entabló amistad con Emilia Pardo Bazán por la dedicación de ambas a la investigación y publicación de sus obras. Sobre todo en los primeros años cada una buscó promocionar en su país laobra de la otra. Escritas entre 1889 y 1898, las cartas son las única

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13

González Herrán, José Manuel. "EMILIA PARDO BAZÁN." SIGLO DIECINUEVE (Literatura hispánica), no. 4 (May 7, 1998): 223–33. http://dx.doi.org/10.37677/sigloxix.vi4.342.

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14

Hua. "The Posthuman Bazin?" Discourse 43, no. 3 (2021): 447. http://dx.doi.org/10.13110/discourse.43.3.0447.

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15

Özyurt, Selçuk. "Neden deride inflamasyonlardan sonra bazen hiper bazen de hipopigmentasyon kalır." Genel Tip Dergisi 24, no. 2014/2 (2014): 85. http://dx.doi.org/10.15321/geneltipder.20142014/27302.

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16

Laroche, Frank, David Di Sandro, and Andre Vien. "The Power of Bazin-Production Forecasting with the Bazin Methodology." Mining, Metallurgy & Exploration 36, no. 4 (2019): 797–802. http://dx.doi.org/10.1007/s42461-019-0057-7.

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17

Jewsiewicki, Bogumil. "Jean Bazin (1941-2001)." Cahiers d'études africaines 42, no. 165 (2002): 5–6. http://dx.doi.org/10.4000/etudesafricaines.141.

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18

Pattison, Walter T., Juan Paredes Nunez, and Emilia Pardo Bazan. "Emilia Pardo Bazan, Cuentos." Hispanic Review 54, no. 4 (1986): 480. http://dx.doi.org/10.2307/474095.

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19

Augé, Marc. "Jean Bazin (1941-2001)." L'Homme, no. 162 (January 1, 2002): 7–12. http://dx.doi.org/10.4000/lhomme.10091.

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20

Le Forestier, Laurent. "Gérard Gozlan, l’Anti-Bazin." 1895, no. 70 (June 1, 2013): 229–31. http://dx.doi.org/10.4000/1895.4719.

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21

Lebel, Monique, and Michel Lassonde. "Erythema induratum of Bazin." Journal of the American Academy of Dermatology 14, no. 5 (1986): 738–42. http://dx.doi.org/10.1016/s0190-9622(86)70086-8.

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22

Ordóñez García, Karina Nataly, Alan David Sepúlveda Molina, Ángelo Geovanni Arzuaga Hernández, Abraham Enrique Katime Zúñiga, and Esperanza Meléndez. "Eritema indurado de Bazin." Acta Médica Colombiana 43, no. 1S (2019): 46–48. http://dx.doi.org/10.36104/amc.2018.1362.

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Presentamos el caso de una paciente de sexo femenino procedente de la ciudad de Santa Marta (Colombia), con abscesos cutáneos recurrentes de larga evolución, localizados en extremidades, tronco y glúteos, prueba de tuberculina positiva, cultivos y PCR para Mycobacterias negativos, se obtuvo muestra de biopsia y patología que mostró hipodermitis septal y lobulillar con compromiso de lobulillos adiposos e infiltrado linfohistiocitario que insinuó la formación de granuloma, con lo cual se consideró eritema indurado de Bazin, iniciándose terapia antifímica con isoniacida, rifampicina, pirazinamida

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23

PALLOTTA, S. "Erythema induratum of Bazin." Journal of the European Academy of Dermatology and Venereology 11 (September 1998): S254. http://dx.doi.org/10.1016/s0926-9959(98)95533-7.

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24

Pejenaute Labari, E., and P. Moreno Cano. "Eritema indurado de Bazin." FMC - Formación Médica Continuada en Atención Primaria 8, no. 10 (2001): 722. http://dx.doi.org/10.1016/s1134-2072(01)75517-x.

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25

Cine Documental, Cuadernos de. "André Bazin y Farrebique." Cuadernos de Cine Documental, no. 13 (August 30, 2019): 20. http://dx.doi.org/10.14409/ccd.v0i13.8427.

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26

Beceyro, Raúl. "Bazin, Wyler y nosotros." Cuadernos de Cine Documental, no. 14 (May 12, 2020): 44–45. http://dx.doi.org/10.14409/ccd.v0i14.9193.

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27

Hayfa, D., A. Souissi, I. Chelly, N. Daadaa, N. Kchir, and M. Mokni. "Erythème induré de Bazin." La Revue de Médecine Interne 38 (December 2017): A225—A226. http://dx.doi.org/10.1016/j.revmed.2017.10.238.

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28

Hager, Willi H., and Corrado Gisonni. "Henry Bazin—Civil Engineer." Journal of Hydraulic Engineering 129, no. 3 (2003): 171–75. http://dx.doi.org/10.1061/(asce)0733-9429(2003)129:3(171).

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29

CHO, KWANG-HYUN, DONG-YOUN LEE, and CHUL-WOO KIM. "ERYTHEMA INDURATUM OE BAZIN." International Journal of Dermatology 35, no. 11 (1996): 802–8. http://dx.doi.org/10.1111/j.1365-4362.1996.tb02979.x.

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30

Smith, Douglas. "Introduction: Revisiting André Bazin." Paragraph 36, no. 1 (2013): 1–9. http://dx.doi.org/10.3366/para.2013.0074.

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31

Morrison, Benedict. "Dudley Andrew,André Bazin." Notes and Queries 63, no. 3 (2016): 497–98. http://dx.doi.org/10.1093/notesj/gjw096.

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32

Grosoli, Marco. "Bazin et ses lecteurs." Critique 857, no. 10 (2018): 837. http://dx.doi.org/10.3917/criti.857.0837.

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33

Ollert, Markus W. "Erythema Induratum of Bazin." Archives of Dermatology 129, no. 4 (1993): 469. http://dx.doi.org/10.1001/archderm.1993.01680250081011.

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34

Mascaró, José M., and Eulalia Baselga. "Erythema Induratum of Bazin." Dermatologic Clinics 26, no. 4 (2008): 439–45. http://dx.doi.org/10.1016/j.det.2008.05.007.

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35

Sánchez-Llama, Iñigo. "EL PROYECTO PEDAGÓGICO EN LA PRODUCCIÓN LITERARIA DE EMILIA PARDO BAZÁN." SIGLO DIECINUEVE (Literatura hispánica), no. 26 (May 11, 2020): 105–31. http://dx.doi.org/10.37677/sigloxix.vi26.145.

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El interés de Emilia Pardo Bazán por la pedagogía es una constante en su trayectoria intelectual. La autora propone durante la década de 1890 la necesaria incorporación de la mujer española a las tendencias modernas mediante la pedagogía. Artículos en revistas especializadas y ponencias leídas en Congresos Pedagógicos confirman este interés de Pardo Bazán. La novela Memorias de un solterón (1896) es quizá la ficción en la que la escritora textualiza sus inquietudes pedagógicas de una manera más precisa. La singular contribución de Pardo Bazán radica en construir un complejo discurso feminista

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36

Memmel, U., M. Stucker, P. Altmeyer, and T. Jansen. "Erythema induratum Bazin nach Lungentuberkulose. Erythema induratum of Bazin after pulmonary tuberculosis." HG Zeitschrift fur Hautkrankheiten 77, no. 3 (2002): 149–53. http://dx.doi.org/10.1046/j.1439-0353.2002.01088.x.

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37

Pereira-Muro, Carmen. "Struggling with the ‘Rosalian myth’." Journal of Romance Studies 20, no. 3 (2020): 409–35. http://dx.doi.org/10.3828/jrs.2020.23.

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The theme of emigration is present in the work of two of the most prominent nineteenth-century Galician authors, Emilia Pardo Bazán and Rosalía de Castro. They had very different approaches: the topic of displacement in several naturalist stories by Pardo Bazán is far removed from the discourse of affect that characterizes de Castro’s work. But in the novel Morriña [‘Homesickness’] (1889), Pardo Bazán displays an uneasy mixture of both discourses (sentimentalism and naturalist determinism) which is, I will argue, a result of the unresolved tension between her Spanish nationalism and her femini

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38

Adamatti, Margarida Maria. "André Bazin e a intermidialidade: por uma historicidade impura do cinema." Rumores 12, no. 23 (2018): 262. http://dx.doi.org/10.11606/issn.1982-677x.rum.2018.137915.

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Pioneiro avant la lettre da intermidialidade, André Bazin não desprezou as possibilidades artísticas do diálogo entre o cinema e as demais mídias. Longe de uma postura purista, Bazin demonstrou como esses entrelaçamentos trouxeram uma inevitável historicidade ao cinema e a possibilidade de aprimoramento da forma fílmica. Num movimento pendular entre a noção de autoria e o elogio à criação anônima das artes, Bazin agregou a arqueologia das mídias ao debate do específico. Através da articulação entre a análise fílmica e o estudo do contexto, os artigos sobre a adaptação teatral e literária abrem

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39

Figueiró, Belisa. "Django Livre e o Western: Uma aproximação com a teoria de André Bazin." Sessões do Imaginário 22, no. 37 (2017): 41. http://dx.doi.org/10.15448/1980-3710.2017.1.22614.

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Este trabalho apresenta a teoria do autor francês André Bazin sobre o western e suas diversas ramificações e alterações ao longo das últimas décadas, com especial aplicação na análise do filme Django Livre (Django Unchained, Quentin Tarantino, 2012), do diretor norte-americano Quentin Tarantino. Após tantas transformações e readaptações dos filmes ao gênero, será que Bazin legitimaria esta obra cinematográfica dentro dos cânones de pureza propostos por ele?

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40

Dalle Vacche, Angela. "André Bazin's Film Theory: Art, Science, Religion." Artium Quaestiones 31, no. 1 (2020): 191–207. http://dx.doi.org/10.14746/aq.2020.31.7.

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Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards

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41

Paredes Núñez, Juan. "El feminismo de Emilia Pardo Bazán." Cuadernos de Estudios Gallegos 40, no. 105 (1992): 303–13. http://dx.doi.org/10.3989/ceg.1992.v40.i105.312.

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42

Jefferson Kline, T. "The Film Theories of Bazin and Epstein: Shadow Boxing in the Margins of the Real." Paragraph 36, no. 1 (2013): 68–85. http://dx.doi.org/10.3366/para.2013.0078.

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When in 1958 André Bazin published the first volume of What is Cinema?, he was already recognized as French film's pre-eminent thinker. His position at Cahiers du cinéma and his influence on the young directors who were to launch the New Wave guaranteed his centrality and his influence. What is nevertheless surprising about this unparalleled success is how fundamentally conservative his writing was. His belief that ‘true realism’ constituted the ontology and the essence of cinema was remarkably out of step with the major philosophical movements of his time. Paradoxically, it was not Bazin but

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43

Sellier, Geneviève. "André Bazin, Film Critic for Le Parisien libéré (1944–1958): An Enlightened Defender of French Cinema." Paragraph 36, no. 1 (2013): 118–32. http://dx.doi.org/10.3366/para.2013.0081.

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This article examines a neglected dimension of Bazin's work, namely his writings for the daily newspaper Le Parisien libéré. Four key points emerge from this corpus. First, Bazin goes beyond the film-reviewing norms of the day (plot summary and evaluation of actors' performances) to analyse the intentions and achievements of the film-makers. Second, Bazin foregrounds the capacity of cinema to address the concerns of contemporary society. Third, as a result, he ascribes a particular value to films that actively engage with the new social realities of post-war France. Four, Bazin remains blind t

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44

Lopez, Ignacio Javier, Juan Paredes Nunez, and Emilia Pardo Bazan. "Emilia Pardo Bazan, Cuentos completos." Hispanic Review 59, no. 4 (1991): 474. http://dx.doi.org/10.2307/473356.

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45

Teramura, Kazuya, Noriki Fujimoto, Gen Nakanishi, Masayo Shigeta, and Toshihiro Tanaka. "Disseminated erythema induratum of Bazin." European Journal of Dermatology 24, no. 6 (2014): 697–98. http://dx.doi.org/10.1684/ejd.2014.2438.

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46

Rojas-Lechuga, María Jesús, Andrea Antúnez-Lay, Karina Cataldo, and Álvaro Abarzúa. "Eritema indurado de Bazin diseminado." Piel 33, no. 4 (2018): 266–68. http://dx.doi.org/10.1016/j.piel.2017.06.006.

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47

DeCoster, Cyrus. "Pardo Bazán and Ideological Literature." Romance Quarterly 40, no. 4 (1993): 226–34. http://dx.doi.org/10.1080/08831157.1993.10545043.

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48

Rothman, William. "Bazin as a Cavellian realist." Film International 5, no. 6 (2007): 54–61. http://dx.doi.org/10.1386/fiin.5.6.54.

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49

Uribarren, Maria Sabina. "Germain Bazin e o Iphan." Revista CPC 13, no. 25esp (2018): 108–34. http://dx.doi.org/10.11606/issn.1980-4466.v13i25espp108-134.

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Germain Bazin, curador-chefe da Seção de Pinturas do Museu do Louvre (1950-1965), contribuiu para a consolidação da arte barroca como paradigma da produção artística colonial brasileira. Considerado por Rodrigo Melo Franco de Andrade como “o eminente historiador e crítico de arte [...] [que] observou, com fundamento, [...] as manifestações mais barrocas da arquitetura do Brasil”, o historiador francês coadjuvou para chancelar mundialmente aspectos fundamentais dos discursos do Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) sobre o barroco por meio de ações diversificadas, tais

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50

CARDY, M. "A LETTER FROM HERVE BAZIN." French Studies Bulletin 18, no. 62 (1997): 1–3. http://dx.doi.org/10.1093/frebul/18.62.1.

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