Relevant bibliographies by topics / Contrafacere

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Contrafacere'

Author: Grafiati
Published: 4 June 2025
Last updated: 23 June 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Contrafacere.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Contrafacere"

1

Cristina, PÎRŢAC. "ELEMENTUL MATERIAL AL INFRACŢIUNILOR DE FALS ÎN ACTE PUBLICE (art.332 CP RM)." STUDIA UNIVERSITATIS MOLDAVIAE Științe Sociale, no. 8(148) (2021): 128–39. https://doi.org/10.5281/zenodo.5113353.

Full text
Abstract:
&Icirc;n prezentul studiu sunt supuse analizei modalităţile normative alternative de exprimare a faptei prejudiciabile prevăzute la art.332 CP RM (falsul &icirc;n acte publice). Se arată că &icirc;n ipoteza &icirc;nscrierii unor date false fapta prejudiciabilă este &icirc;ndreptată către un document oficial existent. Se punctează că cele două acţiuni prejudiciabile, prevăzute la art.332 CP RM, &icirc;n unele cazuri ar putea coexista. <em>De lege lata</em> sunt sesizate cazuri c&acirc;nd persoana publică sau persoana cu funcţie de demnitate publică omite să reflecte &icirc;n documentele oficiale date veridice complete, realitatea fiind denaturată prin includerea unor date &icirc;ntr-un volum incomplet. Actualmente, asemenea fapte omisive nu pot cădea sub incidenţa art.332 CP RM. Se argu&shy;mentează că omisiunea includerii unor date autentice &icirc;n documentul oficial trebuie catalogată &icirc;n postura de modalitate normativă alternativă a falsului &icirc;n acte publice, nu &icirc;nsă &icirc;n calitate de modalitate faptică a inacţiunii ce formează conţinutul elementului material al abuzului de putere sau al abuzului de serviciu.
APA, Harvard, Vancouver, ISO, and other styles
2

Dumitriu, Răzvan. "BANCNOTELE EURO ŞI UNELE DINTRE CONTRAFACERILE LOR." Cercetări Numismatice 9-11 (2005): 515–17. https://doi.org/10.46535/ca.9-11.25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dumitriu, Răzvan. "BANCNOTELE EURO ŞI UNELE DINTRE CONTRAFACERILE LOR." Cercetări Numismatice 9-11 (2005): 515–17. https://doi.org/10.46535/cn.9-11.25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Callahan, Christopher. "Dame polyvalente, glissement registral et contrafacture chez Thibaut de Champagne." Le Moyen Age CXVIII, no. 3 (2012): 581. http://dx.doi.org/10.3917/rma.183.0581.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Santos, Fabiana Cabrera Silva, and Sergio Marcus Nogueira Tavares. "Avaliação da/na educação superior: a contraface da qualidade." Educação & Linguagem 24, no. 1 (2021): 305–19. http://dx.doi.org/10.15603/2176-1043/el.v24n1p305-319.

Full text
Abstract:
Este artigo se propõe a refletir sobre a avaliação da educação superior que constrói novas semânticas e propõe novas relações para pensar sua qualidade, a partir das reformas da educação superior da década de 1990. Para tal, põe em debate os processos avaliativos engendrados nos discursos neoliberais emergentes pelos reformistas da educação. Evidencia-se que o debate sobre o tema precisa avançar para além do “quanto” (ênfase no quantitativo) e perseguir o “por quê”(ênfase no qualitativo), que apresenta novas narrativas e sugere práxis que enaltecem os processos e não apenas os resultados. Desta forma, o texto objetiva elucidar o potencial pedagógico e institucional da avaliação – interna e externa – no ensino superior quando compreendida como componente do ato educativo.
APA, Harvard, Vancouver, ISO, and other styles
6

Waldman, Berta. "Faces e contrafaces: alguns aspectos da Obra de Amós Oz." Revista de Estudos Orientais, no. 6 (February 2, 2016): 263–75. http://dx.doi.org/10.11606/issn.2763-650x.i6p263-275.

Full text
Abstract:
Este ensaio alinhava o cruzamento de aspectos políticos na obra literária de Amós Oz. Questões antes reprimidas pela geração de escritores vinculada à fundação do Estado de Israel vêm à tona na literatura de Oz. Meu intuito foi ressaltar o lugar de destaque que essa literatura dedica à presença e à voz do “outro.”
APA, Harvard, Vancouver, ISO, and other styles
7

Quinlan, Meghan. "Can melodies be signs? Contrafacture and representation in two trouvère songs." Early Music 48, no. 1 (2020): 13–27. http://dx.doi.org/10.1093/em/caz094.

Full text
Abstract:
Abstract The trouvère repertory contains over a hundred groups of contrafacta with a variety of parodic, satirical and devotional functions. This article discusses how certain cases of contrafacture can reshape the ways in which we imagine text–music relations. Through two cases—a serventois protesting the policies of King Louis IX of France, modelled on a song by Blondel de Nesle, and a contrafact of a song by the Chastelain de Coucy that comments on its own contrafaction—I argue not only for a medieval interest in melody’s representative potential, but also that this kind of representation was generated in a process similar to that of language—through repeated use in various contexts. Drawing briefly on semiotics, I suggest that these two melodies become ‘signs’ in that they represent or stand in for something else.
APA, Harvard, Vancouver, ISO, and other styles
8

De Azevedo Turboli, Carolina. "O corpo poético na obra de Ana Paula Tavares e de Ana Cristina César." Revista Mulemba 7, no. 13 (2015): 41–53. http://dx.doi.org/10.35520/mulemba.2015.v7n13a5035.

Full text
Abstract:
Este artigo visa iluminar a poética de duas vozes femininas -- uma angolana, outra brasileira -- sob o prisma do corpo poético e sua contraface como corpo feminino. Desta forma, serão estudados os elementos que propiciam o ato de fala que transforma o poema em corpo, bem como as questões transversais à voz feminina na poesia e seus contextos sócio-históricos.
APA, Harvard, Vancouver, ISO, and other styles
9

Paden, William D. "Contrafacture Between Occitan and Galician-Portuguese (II): The Case of Bonifaci Calvo." Tenso 13, no. 2 (1998): 50–71. http://dx.doi.org/10.1353/ten.1998.0008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Beck, Wolfgang, and Florian Hellbach. "Eine mittelalterliche deutsche Kontrafaktur auf den Hymnus ‘Rex Christe factor omnium’." Zeitschrift für Deutsches Altertum und Deutsche Literatur 151, no. 4 (2022): 466–74. http://dx.doi.org/10.3813/zfda-2022-0015.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Contrafacere"

1

Haug, Emily. "Musical borrowing in renaissance Florence : carnival songs and contrafacture." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/47100.

Full text
Abstract:
Carnival songs form a genre of music that flowered during the Renaissance era in Florence. Stimulated by elite patronage, these popular tunes served to enhance festivities and street celebrations during the Carnival season. Due to the popular contexts within which these songs were performed, they were accessible by all class levels, and thereby served to communicate changing social and political values through the vernacular Italian poetic texts. Perhaps the most prominent feature of this secular genre is that the melodies of the carnival songs were borrowed by poets in the employ of the religious institutions in Florence, both churches and confraternities, as a method of memorizing hymns. Throughout the sixteenth century, the application of this method, defined as contrafacture, grew to become a tool to communicate spiritual and political beliefs, where connections can be drawn between the moral teachings of both the carnival and lauda poems. It is the purpose of this thesis to detail the process by which contrafacture is applied to Carnival songs from the late fifteenth century to the end of the sixteenth century. Different approaches to musical borrowing are discussed to demonstrate how Carnival songs were recycled through the process of contrafacture to reflect a variety of popular mindsets and values held by the citizens of Renaissance Florence.<br>Arts, Faculty of<br>Music, School of<br>Graduate
APA, Harvard, Vancouver, ISO, and other styles
2

Hoffmann, Rachel [UNESP]. "Faces e contrafaces da identidade portuguesa em Cardoso Pires." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103700.

Full text
Abstract:
Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-02-28Bitstream added on 2014-06-13T20:04:22Z : No. of bitstreams: 1 hoffmann_r_dr_sjrp.pdf: 691200 bytes, checksum: dd7f5bcd2eb70028eb71a9572e705e45 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A heterogeneidade da obra de José Cardoso Pires, associada à mobilização de determinadas formas narrativas observada em sua obra, levou-nos a seleção de um corpus propositadamente diversificado: um falso guia turístico, Lisboa, livro de bordo: vozes, olhares, memorações (1997); uma “história infantil” às avessas, “Por cima de toda a folha” (1979); uma fábula subvertida, Dinossauro Excelentíssimo (1972); e um romance que não é exatamente um romance, Alexandra Alpha (1987). Acrescente-se que nessas formas narrativas já subvertidas ainda se podem distinguir outras manifestações, como é o caso de histórias em quadrinhos, sermões, parábolas, desenhos, etc, verificando-se uma composição multifacetada que se afasta das convenções e de formas arraigadas. Aliando essa variedade do ponto de vista da forma com a percepção aguçadamente crítica do autor diante da mitificação da história portuguesa, é nosso objetivo constatar que a identidade portuguesa é calcada em crenças, mitos e lendas desmascarados por Cardoso Pires por meio da transgressão a formas narrativas tradicionais e por meio de recursos como a ironia e a paródia, recursos de que se serve o autor para recuperar e, quase simultaneamente, subverter textos legitimadores que focalizam o ser luso, textos que exaltam a nação portuguesa e que tendem a fincar raízes e fixar estruturas esclerosadas, exigindo uma revisão constante<br>The heterogeneous nature of José Cardoso Pires’s work, associated with the mobilization of certain narrative forms, led us to select a purposely diverse corpus: a fake tour guide, Lisboa, livro de bordo: vozes, olhares, memorações (1997); a “children’s story” backwards, “Por cima de toda a folha” (1979); a subverted fable, Dinossauro Excelentíssimo (1972); and a novel that is not quite one, Alexandra Alpha (1987). In addition, in these already subverted narrative forms, other manifestations can still be distinguished, such as comic books, sermons, parables, drawings, etc., verifying a multifaceted composition that departs from traditional conventions and forms. Combining this narrative form variety and the author’s keenly critical perception in relation to the mystification of Portuguese history, our aim is to consider that the creation of a Portuguese identity, identity based in people beliefs, myths and legends, is unmasked by Cardoso Pires through the transgression of traditional narrative forms, using irony and parody. The author makes use of these resources to recover and almost simultaneously subvert texts that focus on being Luso, which exalt the Portuguese nation, and tend to form roots and fix ossified structures, requiring constant review
APA, Harvard, Vancouver, ISO, and other styles
3

Hoffmann, Rachel. "Faces e contrafaces da identidade portuguesa em Cardoso Pires /." São José do Rio Preto : [s.n.], 2012. http://hdl.handle.net/11449/103700.

Full text
Abstract:
Orientador: Sônia Helena de Oliveira Raymundo Piteri<br>Banca: Orlando Nunes de Amorim<br>Banca: Sérgio Vicente Motta<br>Banca: Márcia Valéria Zambonni Gobbi<br>Banca: Maria Lúcia Wiltshire de Oliveira<br>Resumo: A heterogeneidade da obra de José Cardoso Pires, associada à mobilização de determinadas formas narrativas observada em sua obra, levou-nos a seleção de um corpus propositadamente diversificado: um falso guia turístico, Lisboa, livro de bordo: vozes, olhares, memorações (1997); uma "história infantil" às avessas, "Por cima de toda a folha" (1979); uma fábula subvertida, Dinossauro Excelentíssimo (1972); e um romance que não é exatamente um romance, Alexandra Alpha (1987). Acrescente-se que nessas formas narrativas já subvertidas ainda se podem distinguir outras manifestações, como é o caso de histórias em quadrinhos, sermões, parábolas, desenhos, etc, verificando-se uma composição multifacetada que se afasta das convenções e de formas arraigadas. Aliando essa variedade do ponto de vista da forma com a percepção aguçadamente crítica do autor diante da mitificação da história portuguesa, é nosso objetivo constatar que a identidade portuguesa é calcada em crenças, mitos e lendas desmascarados por Cardoso Pires por meio da transgressão a formas narrativas tradicionais e por meio de recursos como a ironia e a paródia, recursos de que se serve o autor para recuperar e, quase simultaneamente, subverter textos legitimadores que focalizam o ser luso, textos que exaltam a nação portuguesa e que tendem a fincar raízes e fixar estruturas esclerosadas, exigindo uma revisão constante<br>Abstract: The heterogeneous nature of José Cardoso Pires's work, associated with the mobilization of certain narrative forms, led us to select a purposely diverse corpus: a fake tour guide, Lisboa, livro de bordo: vozes, olhares, memorações (1997); a "children's story" backwards, "Por cima de toda a folha" (1979); a subverted fable, Dinossauro Excelentíssimo (1972); and a novel that is not quite one, Alexandra Alpha (1987). In addition, in these already subverted narrative forms, other manifestations can still be distinguished, such as comic books, sermons, parables, drawings, etc., verifying a multifaceted composition that departs from traditional conventions and forms. Combining this narrative form variety and the author's keenly critical perception in relation to the mystification of Portuguese history, our aim is to consider that the creation of a Portuguese identity, identity based in people beliefs, myths and legends, is unmasked by Cardoso Pires through the transgression of traditional narrative forms, using irony and parody. The author makes use of these resources to recover and almost simultaneously subvert texts that focus on being Luso, which exalt the Portuguese nation, and tend to form roots and fix ossified structures, requiring constant review<br>Doutor
APA, Harvard, Vancouver, ISO, and other styles
4

Bonse, Billee A. ""Singing to Another Tune": Contrafacture and Attribution in Troubadour Song." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1074783188.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Quinlan, Meghan. "Contextualising the contrafacta of trouvere song." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:de48756e-ed5a-4ffd-8ce2-c44dcc31ab74.

Full text
Abstract:
Scholarship on medieval contrafacture has long been engaged in the Kontrafakturjagd, the hunt for songs whose textual and structural similarities suggest they might also share melodies. By making melodies freely exchangeable, this practice has tended to treat the music of medieval song as if it were an empty vessel, overlooking the ways in which contrafacta might construct musical meaning to serve various political, devotional, or aesthetic ends. Rather than making a case for contrafacture among songs whose shared melodies are questionable, this dissertation provides a context rich perspective on certain groups of 'close contrafacta' - songs whose status as contrafacta is already known and supported by strong musical, textual, and contextual evidence. In five case studies, all of which take at least one song from the trouvère repertory, and which represent the most common contrafact genres - political serventois, Marian song, and crusade song - I consider the ways in which their melodies could signify. More specifically, I examine the interrelated layers of the melody's performed sound structures, its cuing of previous texts on the listener, and its integration of old and new contexts. The case studies reveal a culture that cared about melodic association and used it in sophisticated ways. In the first two chapters, which address political contrafacture, the music's textual associations form a background against which the contrafact text reacts ironically, while its melodic origins evoke precise geopolitical loyalties or antagonisms. The third and fourth chapters on Marian song, conversely, point toward efforts to intensify and develop a song's meaning through contrafacture, while the fifth chapter's contrafact text cites its own affective reason for melodic re-use. In all case studies, not only does the music cue text and context synoptically; its performed structures also intensify and subvert textual meanings, showing how music can enrich literary interpretations of medieval song.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Contrafacere"

1

Pascu, Emilia. Marfuri alimentare si securitatea consumatorului de alimente, editia a II-a. Editura Universitara, 2022. http://dx.doi.org/10.5682/9786062814519.

Full text
Abstract:
ntr-o lume in care produse neconforme ameninta permanent si intr-o societate in care nivelul de trai determina deseori o alimentatie necorespunzatoare, autoarea, in calitate de titlular al cursului de Marfuri alimentare si securitatea consumatorului, predat la Facultatea de Management Turistic si Comercial din cadrul Universitatii Crestine Dimitrie Cantemir Bucuresti, al carei decan este din 2015, atrage atentia asupra celor mai importante aspecte privind produsele alimentare si compozitia acestora. Autoarea, care detine titlul de doctor in economie cu o teza despre produsele contrafacute si securitatea consumatorilor, ofera un instrument utile celor preocupati de calitatea produselor alimentare, atat in scop personal, dar si in calitate de personal angajat in domenii in care alimentele detin un rol important.
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Contrafacere"

1

O’Sullivan, Daniel E. "Contrafacture." In Handbook of Medieval Studies, edited by Albrecht Classen. De Gruyter, 2010. http://dx.doi.org/10.1515/9783110215588.1478.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hope, Henry. "Compilation, Contrafacture, Composition:." In Revisiting the Codex Buranus. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvrdf1d0.19.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"Conclusion: Contrafacture and Cultural Exchange." In Marian Devotion in Thirteenth-Century French Lyric. University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442677043-008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Otter, Monika. "3 Contrafacture and Translation: The Prisoner’s Lament." In The French of Medieval England. Boydell and Brewer, 2017. http://dx.doi.org/10.1515/9781787440135-008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Quinlan, Meghan. "When Courtly Song Invades History." In Gender and Voice in Medieval French Literature and Song. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813069036.003.0005.

Full text
Abstract:
This chapter examines a thirteenth-century political song (serventois) by Hue de la Ferté that adopts the verbal and melodic voice of a trouvère love song, through contrafacture, to defame Blanche de Castille (1188-1252), the mother of King Louis IX and regent of France. The love song, by the Chastelain de Couci, addresses a courtly lady of deceptive appearances and uncompromising power, and this conventional image is cannily re-literalized in Hue’s representation of Blanche. Through musical, textual, and historical analysis, the chapter considers the courtly melody as a site of gendered associations which are exploited by the contrafact maker to normalize the misogyny of the contrafact text, but which also seem to belie an anxiety over a foreign woman in power.
APA, Harvard, Vancouver, ISO, and other styles
6

Golden, Rachel May. "Singing Crusade Journeys." In Mapping Medieval Identities in Occitanian Crusade Song. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948610.003.0007.

Full text
Abstract:
In mapping geopolitics and spirituality, Crusade songs enacted motion and travel. Directionality and circularities typify Crusade songs and Crusaders alike. Songs variously embody dialogues between singing and hearing, the actions of Crusaders traveling both outremer and homeward. As songs moved through geographical spaces, bodies, air, and time, they articulated new contexts. Multiply re-created, songs emerged from composite and collective processes that included monks, troubadours, performers, scribes, and listeners. Contrafacture, seen in the relationship between Walther von der Vogelweide’s Palästinalied and Jaufre Rudel’s Lanqan li jorn, demonstrates the dialogic nature of these layers of creation, and how differing Crusade perspectives re-inscribe a song’s expression of striving, movement, or conclusion. Overall, Occitanian songs rendered the Crusade front as areas inflected by regional perspectives, from unknown spaces to meaningful places. Using techniques like deictic language, oppositional rhetoric, and circular motion, Crusade songs reinforced contemporaneous ideologies in both their poetic texts and directed melodic shapes.
APA, Harvard, Vancouver, ISO, and other styles
7

Hope, Henry. "Chapter 13 Compilation, Contrafacture, Composition: Revisiting the German Texts of the Codex Buranus." In Revisiting the Codex Buranus. Boydell and Brewer, 2020. http://dx.doi.org/10.1515/9781787446274-017.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Contrafacere' for particular source types:
Journal articles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography