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Journal articles on the topic 'Cherubino'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

RUMPH, STEPHEN. "UNVEILING CHERUBINO." Eighteenth Century Music 4, no. 1 (2007): 129–38. http://dx.doi.org/10.1017/s1478570607000747.

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Daniel Leeson recently noted an intriguing thematic borrowing in the Act 1 trio of Le nozze di Figaro (No. 7, ‘Cosa sento!’). As Leeson demonstrated, Basilio’s theme, first introduced in bars 16–23, derives from Cherubino’s preceding aria, ‘Non so più cosa son, cosa faccio’. This veiled allusion echoes throughout the trio, most dramatically during the narrative in which the Count reveals the hidden page. The quotation of Cherubino’s theme, Leeson argued, supplies the stage director with precious information. It proves that Basilio has eavesdropped on the previous scene, and explains why Susann

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2

Gill, Amyrose McCue. ""Not as Enemies, but as Friends": Sanctioned Sex in Frate Cherubino's Regola della vita matrimoniale." Quaderni d'italianistica 30, no. 1 (2009): 27–43. http://dx.doi.org/10.33137/q.i..v30i1.8425.

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During the 1470s, a Franciscan preacher named Cherubino composed a short treatise in nine parts entitled Regola della vita matrimoniale (Rule for Married Life), which describes in detail the mutual obligations of an ideal married couple. In this didactic work, Cherubino echoes the vocabulary of early Quattrocento writers who employed the concepts of friendship and companionship as framing devices for their discussions of the conjugal state. What is noteworthy in Cherubino's approach to this common theme, however, is his conflation of friends and spouses in the midst of an explication of the co

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3

WANEK, NINA-MARIA. "The Greek and Latin Cherubikon." Plainsong and Medieval Music 26, no. 2 (2017): 95–114. http://dx.doi.org/10.1017/s0961137117000043.

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ABSTRACTThis article focuses on the so-called ordinary Cherubikon/Cherubic hymn (Οἱ τὰ χερουβίμ/Oi ta Cherubim) found in Byzantine manuscripts in connection with the Divine Liturgies of St John Chrysostomos and St Basil throughout the church year except for Lent and Easter. The Cherubikon is not, however, restricted to Byzantine codices, but can be found in various Latin manuscripts transliterated into Western letters and written with Western neumes.

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4

Hannigan, Barry, and Hans Werner Henze. "Cherubino: 3 Miniaturen fur Klavier." Notes 43, no. 4 (1987): 926. http://dx.doi.org/10.2307/898181.

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5

STACKELBERG, JÜRGEN. "Cherubino d’amore.Von Beaumarchais zu Da Ponte." arcadia - International Journal for Literary Studies 25, no. 2 (1990): 137–43. http://dx.doi.org/10.1515/arca.1990.25.2.137.

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6

Weiss, Yale. "Colloquium 1 Commentary on Cherubin." Proceedings of the Boston Area Colloquium of Ancient Philosophy 33, no. 1 (2018): 22–26. http://dx.doi.org/10.1163/22134417-00331p03.

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Abstract This commentary examines the interpretation of Parmenides developed by Rose Cherubin in her paper, “Parmenides, Liars, and Mortal Incompleteness.” First, I discuss the tensions Cherubin identifies between the definitions and presuppositions of justice, necessity, fate, and the other requisites of inquiry. Second, I critically assess Cherubin’s attribution of a sort of liar paradox to Parmenides. Finally, I argue that Cherubin’s handling of the Doxa, the section of Parmenides’ poem that deals with mortal opinion and cosmology, is unsatisfactory. I suggest that her reading may contradic

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7

Stollhans, Cynthia. "PRIOR CHERUBINO AS PATRON OF PERUZZI'S FRESCOES AT SANT'ONOFRIO IN ROME." Source: Notes in the History of Art 12, no. 1 (1992): 24–30. http://dx.doi.org/10.1086/sou.12.1.23207838.

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8

Prijatelj Pavičić, Ivana. "U traganju za povijesnim, kulturnim i umjetničkim identitetom umjetnika Schiavona: crtice iz povijesti njihove recepcije u 16. i 17. stoljeću." Ars Adriatica, no. 4 (January 1, 2014): 313. http://dx.doi.org/10.15291/ars.503.

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The author of the paper demonstrates how sixteenth- and seventeenth-century historiography applied a number of identity stereotypes which were linked to the Slavs, Dalmatians, Illyrians, Morlachs, and Croats in contemporary literature and scholarship to three well-known Schiavoni artists: Andrea Meldola (Andrija Medulić), Niccoló dell’Arca and Giulio Clovio (Julije Klović). For example, the qualifier ‘barbaric’, used to denote the work of Niccoló dell’Arca in sixteenth-century historiography from Bologna, represents one of the stereotypical characteristics about the Schiavoni which were freque

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9

Witcombe, Christopher. "Some Letters and Some Prints Dedicated to the Medici by Cherubino Alberti." Sixteenth Century Journal 22, no. 4 (1991): 641. http://dx.doi.org/10.2307/2542369.

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10

HEPPNER, C. ""L'ho perduta": Barbarina, Cherubino, and the Economics of Love in Le nozze di Figaro." Opera Quarterly 15, no. 4 (1999): 636–59. http://dx.doi.org/10.1093/oq/15.4.636.

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11

Etoz, Osman A., Dogan Dolanmaz, and Omer Gunhan. "Treatment of Cherubism with Salmon Calcitonin: A Case Report." European Journal of Dentistry 05, no. 04 (2011): 486–91. http://dx.doi.org/10.1055/s-0039-1698923.

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ABSTRACTCherubism is a familial disease of the jaws which is inherited via autosomal dominant manner. Typical features of cherubism include a painless bilateral, symmetrical enlargement of the jaws, misalignment of teeth, and intra-osseous central giant cell granuloma-like lesions, which are usually evident in early childhood. Treatment of cherubism consists of local curettage of the lesions, jaw contouring, intralesional steroid injections, and systemic calcitonin administration as well. Calcitonin therapy for central giant cell granuloma of the jaws is well documented, and favorable results

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12

Hiremath, Dr Mallayya C., Dr SK Srinath, Dr Bineesh Balan, and Dr Sushma H S. "Cherubism in a 12-year old Child; A Rare Case Report." RGUHS Journal of Dental Sciences 12, no. 2 (2020): 39–42. http://dx.doi.org/10.26715/rjds.12_2_8.

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Cherubism is a non-neoplastic, fibro-osseous, self-limiting, autosomal dominant disorder of the jaws. It is also called as familial fibrous dysplasia and familial multi-locular cystic lesion of the jaws. Its typical dento-facial deformities are caused by mutations in the SH3BP2 gene. The lesion regresses during puberty and the disease stabilizes after the growth period. But it leaves some facial deformity along with disturbances in occlusion. Cherubism may occur as an individual case or in multiple members of the same family, oftenly in multiple generations. Radiographic examination of the les

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13

Carter, Tim. "Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy." Journal of Musicology 29, no. 4 (2012): 461–76. http://dx.doi.org/10.1525/jm.2012.29.4.461.

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The numerous documents associated with the controversy launched in 1600 by the Bolognese music theorist Giovanni Maria Artusi (1546–1613) against the madrigals of Claudio Monteverdi (1567–1643) have been well studied by scholars. But no one has yet engaged with the encomia included in the front and back matter of the printed books lying at the heart of the dispute: three sonnets (two by Vicenzo Maria Sandri and one by Mutio Manfredi) and a Latin carmen (by Erycius Puteanus) in the treatise L’Artusi, overo Delle imperfettioni della moderna musica (1600), and two madrigals by the poet and theolo

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14

Dumitriu, George. "The Cherubic Hymn in The Romanian Choral Creation." Review of Artistic Education 17, no. 1 (2019): 113–17. http://dx.doi.org/10.2478/rae-2019-0012.

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Abstract The Cherubic Hymn (gr.) o heroubikos ymnos) was introduced in the Byzantine Liturgy in the 5th century, by a decree of Emperor Justin the 2nd, issued in 574. The document stated the replacement of an old psalm, once sang during the offering of bread and wine gifts at the altar by the church-goers (ofertorium), with the new hymn. The replacement of the ofertoriumului ritual with the one of Presentation of the Euharistic Gifts (the Great Exodus) and the introduction of associated memorials, determined the fragmentation of the hymn in two different parts. Initially sang monodically, the

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15

Schwarz, Robert, and Peter Bichsel. "Cherubin Hammer und Cherubin Hammer." World Literature Today 73, no. 4 (1999): 721. http://dx.doi.org/10.2307/40155124.

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16

Sordi, Italo. "Cherubini folklorista." La Ricerca Folklorica, no. 26 (October 1992): 9. http://dx.doi.org/10.2307/1479826.

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17

Imai, Yoshimichi, Kiyoshi Kanno, Takuya Moriya, et al. "A Missense Mutation in the SH3BP2 Gene on Chromosome 4p16.3 Found in a Case of Nonfamilial Cherubism." Cleft Palate-Craniofacial Journal 40, no. 6 (2003): 632–38. http://dx.doi.org/10.1597/1545-1569_2003_040_0632_ammits_2.0.co_2.

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Objective Cherubism is a rare hereditary multilocular cystic disease of the jaws, characterized by its typical appearance. Although nonfamilial cases have been reported, it is difficult to distinguish nonfamilial cherubism from central giant cell granuloma. Recent studies have revealed the point mutations in the SH3BP2 gene on chromosome 4p16.3 in cherubism families. In this article, the SH3BP2 gene in nonfamilial cherubism was examined. Patient A 21-year-old Japanese woman with nonfamilial cherubism. Interventions Genomic DNA was purified from a blood sample obtained from the patient and used

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18

Pogorelaya, E. A. "Secret vacancy: Cherubina de Gabriak, Anna Akhmatova and Marina Tsvetaeva." Voprosy literatury, no. 4 (August 22, 2019): 159–80. http://dx.doi.org/10.31425/0042-8795-2019-4-159-180.

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A chapter from the forthcoming biography of Cherubina de Gabriak, the paper discusses personal and artistic relationships between the three principal female poets of early 20th c. Russia. In reality, the age of female lyrical poetry began with the publication of Cherubina de Gabriak’s works in Apollonin 1909; the story influenced A. Akhmatova and M. Tsvetaeva. While Akhmatova, due to biographical circumstances, cared very little for the personality and works of de Gabriak, and ostensibly distanced herself from de Gabriak’s lyrical protagonist, Tsvetaeva, by contrast, expressed keen interest in

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19

Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-164-183.

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The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitri

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20

Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/2500-4247-2021-6-2-164-183.

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The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitri

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21

Charlton, David. "Cherubini: A Critical Anthology, 1788–1801." Royal Musical Association Research Chronicle 26 (1993): 95–99. http://dx.doi.org/10.1080/14723808.1993.10540963.

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… as they say in Germany, ‘in music, Cherubini is a hundred years ahead of us’. trans. from Correspondance des Arrwteurs musiciens, 8 October 1803Attitudes to Cherubini have been affected by the knowledge that his most important operas had scant success in Paris after 1800. This lack of a continuous French performing tradition has encouraged the feeling that they were perhaps unviable or unattractive. It is not one shared by the author of a substantial dissertation on Cherubini, Stephen C. Willis; but Willis's work was focussed on the composer rather than his operas’ reception. In fact, neithe

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22

Tulyantsev, Andrey, and Ekaterina Guskova. "Cherub chants of M. Berezovsky, D. Bortnyansky, A. Wedel: from innovation to tradition." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 39–49. http://dx.doi.org/10.33287/222016.

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The article examines the Cherubim chants written by Ukrainian composers of the musical classicism era – by Maxim Berezovsky, Dmitry Bortnyansky and Artemy Wedel. These composers wrote mainly spiritual music, so they did not omit the Cherubim chant – one of the songs in musical part during the Orthodox Liturgy. The purpose of this article is to reveal an innovative view on the musical embodiment of Cherubim songs by Ukrainian composers of the Classicism era, which, compared to previous cherubim chants, appears at the level of musical style and musical form, and the difference from pieces of mus

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23

Kemp, Lindsay. "Cherubini and Mozart." Musical Times 130, no. 1761 (1989): 689. http://dx.doi.org/10.2307/1193798.

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24

Burroughs, Bruce. "Lodoïska. Luigi Cherubini." Opera Quarterly 9, no. 3 (1993): 199–202. http://dx.doi.org/10.1093/oq/9.3.199.

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25

Jellinek, G. "Medee. Luigi Cherubini." Opera Quarterly 15, no. 4 (1999): 761–62. http://dx.doi.org/10.1093/oq/15.4.761.

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26

Author, An. "Marmodoro/Cherubin Bibliography." Proceedings of the Boston Area Colloquium of Ancient Philosophy 32, no. 1 (2017): 38–39. http://dx.doi.org/10.1163/22134417-00321p04.

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27

Chomette, G., M. Auriol, F. Guilbert, and J. M. Vaillant. "Cherubism." International Journal of Oral and Maxillofacial Surgery 17, no. 4 (1988): 219–23. http://dx.doi.org/10.1016/s0901-5027(88)80043-2.

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28

Zachariades, Nicholas, Stavros Papanicolaou, Assimina Xypolyta, and Ioannis Constantinidis. "Cherubism." International Journal of Oral Surgery 14, no. 2 (1985): 138–45. http://dx.doi.org/10.1016/s0300-9785(85)80085-5.

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29

Riefkohl, Ronald, Gregory S. Georgiade, and Nicholas G. Georgiade. "Cherubism." Annals of Plastic Surgery 14, no. 1 (1985): 85–90. http://dx.doi.org/10.1097/00000637-198501000-00016.

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30

Vaillant, Jean-Marie, Pascal Romain, and Marc Divaris. "Cherubism." Journal of Cranio-Maxillofacial Surgery 17, no. 8 (1989): 345–49. http://dx.doi.org/10.1016/s1010-5182(89)80103-9.

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31

Shokri, Abbas, and Atefeh Khavid. "Cherubism." Journal of Craniofacial Surgery 27, no. 5 (2016): e511-e512. http://dx.doi.org/10.1097/scs.0000000000002768.

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32

Khalifa, M. C., and R. A. Ibrahim. "Cherubism." Journal of Laryngology & Otology 102, no. 6 (1988): 568–70. http://dx.doi.org/10.1017/s0022215100105717.

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33

Hitomi, Gonjiro, Naoto Nishide, and Kazuei Mitsui. "Cherubism." Oral Surgery, Oral Medicine, Oral Pathology, Oral Radiology, and Endodontology 81, no. 5 (1996): 623–28. http://dx.doi.org/10.1016/s1079-2104(96)80060-6.

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34

Mohan, R. P. S., S. Verma, U. Singh, and N. Agarwal. "Cherubism." Case Reports 2013, jul03 1 (2013): bcr2013010366. http://dx.doi.org/10.1136/bcr-2013-010366.

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35

Temtamy, Samia A., Ahmad F. Abd El Azeem, Tarek H. El Badry, Mennat Allah I. Mehrez, and Marwa El Kassaby. "Cherubism." Middle East Journal of Medical Genetics 1, no. 1 (2012): 53–56. http://dx.doi.org/10.1097/01.mxe.0000407740.11109.d8.

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36

Al-Omar, Ahmed F., Basma G. Moussa, and Usama Abd El Raouf M. El-Dakrory. "Cherubism." Egyptian Journal of Oral & Maxillofacial Surgery 6, no. 2 (2015): 62–65. http://dx.doi.org/10.1097/01.omx.0000462787.66530.51.

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37

Thompson, Lester D. R. "Cherubism." Ear, Nose & Throat Journal 94, no. 1 (2015): E—22—E—24. http://dx.doi.org/10.1177/014556131509400107.

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38

Pal, Rimesh, and Pinaki Dutta. "Cherubism." Indian Pediatrics 57, no. 6 (2020): 595–96. http://dx.doi.org/10.1007/s13312-020-1879-6.

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39

Kömerik, Nurgül, Betül Taş, and Levent Önal. "Cherubism." Head and Neck Pathology 8, no. 2 (2013): 164–67. http://dx.doi.org/10.1007/s12105-013-0489-1.

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40

Chakrabarti, A. K., B. K. Kundu, and S. Ghosh. "Cherubism." Indian Journal of Otolaryngology and Head and Neck Surgery 47, no. 4 (1995): 315–17. http://dx.doi.org/10.1007/bf03048000.

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41

Gupta, Neelima, P. P. Singh, and Usha Rani Singh. "Cherubism." Indian Journal of Otolaryngology and Head and Neck Surgery 54, no. 3 (2002): 229–31. http://dx.doi.org/10.1007/bf02993110.

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42

Śnieżek, Barbara. "Frédéric Chopin: "Trois Fugues de Luigi Cherubini mises en partition de piano". Fac-similé et transcription présentés par Jean-Jacques Eigeldinger, Paris 2017." Muzyka 63, no. 4 (2018): 136–39. http://dx.doi.org/10.36744/m.352.

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43

Cherubini, Paolo, Turi Humbel, Hans Beeckman, et al. "The olive-branch dating of the Santorini eruption." Antiquity 88, no. 339 (2014): 267–73. http://dx.doi.org/10.1017/s0003598x00050365.

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The date of the volcanic eruption of Santorini that caused extensive damage toMinoan Crete has been controversial since the 1980s. Some have placed the event in the late seventeenth century BC. Others have made the case for a younger date of around 1500 BC. A recent contribution to that controversy has been the dating of an olive tree branch preserved within the volcanic ash fall on Santorini. In this debate feature Paolo Cherubini and colleagues argue that the olive tree dating (which supports the older chronology) is unreliable on a number of grounds. There follows a response from the author

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44

Karbasi Kheir, Mitra. "Case Report of Nonfamilial Cherubism in a Toddler: Description of Clinic-Radiographic Features and Osseous-Dental Treatments." Case Reports in Medicine 2016 (2016): 1–5. http://dx.doi.org/10.1155/2016/8795765.

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Cherubism is a rare familial disease that occurs between the ages two and five years and regresses after puberty. Most of the cherubism cases show familial history, but there are some cases without familial histories of disorder. A two-year-old boy with a painless symmetrical progressive swelling of the jaws had visited maxillofacial radiology department. Panoramic radiograph revealed well-defined multilocular, radiolucent areas of both jaws. Computed tomography of the jaws showed well-defined, bilateral, multilocular, expansile lesions with thinning of cortical plate of maxilla and mandible a

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45

Beretta, Claudio. "La grafia di Cherubini." La Ricerca Folklorica, no. 26 (October 1992): 41. http://dx.doi.org/10.2307/1479829.

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46

Beduschi, Lidia. "Cherubini e il mantovano." La Ricerca Folklorica, no. 26 (October 1992): 57. http://dx.doi.org/10.2307/1479830.

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47

Balestreri, Giovanna. "Tommaso Grossi e Cherubini." La Ricerca Folklorica, no. 26 (October 1992): 75. http://dx.doi.org/10.2307/1479832.

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48

PENCAK, WILLIAM. "Cherubini Stages a Revolution." Opera Quarterly 8, no. 1 (1991): 8–27. http://dx.doi.org/10.1093/oq/8.1.8.

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49

Meakin, John. "Tribute to Alessandra Cherubini." International Journal of Algebra and Computation 31, no. 06 (2021): 985–86. http://dx.doi.org/10.1142/s0218196721730019.

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50

Barstad, Noel, and Werner Fritsch. "Cherubim." World Literature Today 62, no. 3 (1988): 449. http://dx.doi.org/10.2307/40144338.

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