Relevant bibliographies by topics / Creatura

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Creatura'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Creatura"

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Stein, Leslie A. "The Never-Ending Creatura." Jung Journal 13, no. 1 (January 2, 2019): 113–17. http://dx.doi.org/10.1080/19342039.2019.1560816.

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González, Antonio. "El evangelio de toda creatura." Albertus Magnus 6, no. 1 (January 17, 2015): 11. http://dx.doi.org/10.15332/s2011-9771.2015.0001.01.

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La teología de la creación experimentó desarrollos enormemente importantes a lo largo del siglo pasado. En el campo católico, la idea de Karl Rahner sobre un “existencial sobrenatural” puso fin, al menos durante cierto tiempo, a la contraposición clásica entre naturaleza y gracia, convirtiendo la noción escolástica de “naturaleza” en un “concepto residual” (Restbegriff), y abriendo así la posibilidad de pensar la creación en términos de gracia (Rahner, 1954). En el campo protestante, la comprensión de la creación como gracia había sido especialmente subrayada por la teología de Karl Barth, debido no sólo a su distancia con la “teología natural”, sino sobre todo a su voluntad de entender la creación a partir del pacto, de modo que la alianza de Dios con su pueblo sería el “fundamento interno” de la creación (Barth, 1947). Con eso no solo quedaba abierta la posibilidad de asumir la vinculación profunda entre el Éxodo y los primeros capítulos del Génesis, sino que también se abría la teología de la creación a su continuación no sólo en la “historia de la salvación”, sino también en una visión escatológica, es decir, en la dirección una “nueva creación”, tal como se propone en el enfoque de la creación “en perspectiva ecológica”, que ha elaborado Jürgen Moltmann (1985).
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Longo, Giuseppe. "Tecnologia, reti sociali e intelligenza collettiva." SOCIOLOGIA DELLA COMUNICAZIONE, no. 40 (June 2010): 12–34. http://dx.doi.org/10.3280/sc2009-040003.

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Oggi l'evoluzione biologica basata su mutazioni genetiche č di gran lunga superata dalla molto piů rapida evoluzione della cultura e della tecnologia. Ciň ha due conseguenze importanti: 1) la nascita dell'homo technologicus, una creatura simbiotica dove la biologia incontra la tecnologia; 2) la costituzione della Creatura Planetaria, che ha origine dall'interconnessione dei singoli simbionti uomo-macchina, ed č annunciata da Internet e dalle attivitŕ di comunicazione che vi operano, in particolare quelle che avvengono nei cosiddetti social networks. La Creatura Planetaria č una struttura singola che pervade tutto il mondo, dove hanno luogo processi comunicativi e cognitivi, che si sviluppano in un'intelligenza connettiva che tende a trascendere e ad assorbire le intelligenze individuali. Questo processo puň arricchire le capacitŕ degli individui, dato che la crescente efficienza e i costi decrescenti della comunicazione offrono grandi opportunitŕ per aumentare conoscenza e creativitŕ e ottenere nuove forme di attivitŕ intellettuale. Potrebbero esservi anche conseguenze negative, come dipendenza da computer e dal mondo virtuale, delega di attivitŕ e di capacitŕ alle macchine, vulnerabilitŕ di sistemi complessi, controllo indebito sui singoli, sfruttamento economico. Il lavoro esamina alcune importanti conseguenze di questi sviluppi.
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McCurdy, Harold. "Omnis Mundi Creatura (Alain of Lille, c. 1128–1202)." Theology Today 44, no. 3 (October 1987): 371. http://dx.doi.org/10.1177/004057368704400310.

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Malysz, Piotr J. "Creator est Creatura: Luthers Christologie als Lehre von der Idiomenkommunikation [The Creator is a Creature: Luther's Christology as Doctrine of the Communication of Properties]- Edited by Oswald Bayer and Benjamin Gleede." Reviews in Religion & Theology 16, no. 4 (September 2009): 618–22. http://dx.doi.org/10.1111/j.1467-9418.2009.00442_1.x.

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Castello, Sofía. "Meister Eckhart. Principio existencial y principio esencial de la creatura." Logos. Anales del Seminario de Metafísica 54, no. 1 (March 16, 2021): 33–53. http://dx.doi.org/10.5209/asem.74706.

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En el presente trabajo presentamos la exposición de Meister Eckhart de la estructura metafísica del mundo creado a través del relevo de algunos pasajes nucleares de su obra, centralmente en el Comentario al Evangelio de Juan. Para ello, en primer lugar buscamos trazar paralelismos entre su argumentación y la presente en el Liber de Causis I.1-I.11 para señalar la impronta de este texto en el pensamiento eckhartiano. En segundo lugar, exponemos el modo abstracto de acceso al orden jerárquico que se edifica entre el esse, el vivere y el intelligere. Finalmente, presentamos el modo concreto, señalando sus particularidades y su distinción respecto al modo abstracto.
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Aziz Mahmood, Karzan. "The Appropriation of Innocence: from Shelley’s Frankenstein to Ahmed Saadawi’s Frankenstein in Baghdad." Arab World English Journal For Translation and Literary Studies 5, no. 2 (May 15, 2021): 126–38. http://dx.doi.org/10.24093/awejtls/vol5no2.10.

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This paper demonstrates the appropriation of innocence in Shelley’s Frankenstein, Or the Modern Prometheus (1818) and Frankenstein in Baghdad (2013) by Ahmed Saadawi. These novels are selected because the latter appropriates the creator and creature characters and contextualizes them into the American-Iraq 2005 post-war period. In Shelley’s Frankenstein, Victor Frankenstein, scientifically, gives life to a dead body amalgamated from other body parts, which start murdering and revenging upon his creator. Whereas, in Saadawi’s twenty-first century Frankenstein, a person who is formed from others’ dead bodies by merely a junk dealer, starts murdering and revenging upon other people. On the one hand, Frankenstein, a science student, sought to answer the question of human revival theoretically and practically. Therefore, after he resurrects the dead, it becomes monstrous due to its negligence and physical hideousness by its creator. On the other hand, the Iraqi Frankenstein’s creator, Hadi, celebrates collecting old materials in a non-scientific manner, including humans’ dead body parts, in order to give value to them by offering them worthy of proper burials. The resurrected creatures transform into more powerful beings than their creators as reactions against isolation and injustice. For that, both Frankenstein and Hadi lose control over their creations, who instigate new life cycles. Hence, the ethical responsibility of invention underlies the concept of innocence which this paper intends to analyze vis-à-vis the creators and their creations.
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Nela Gašpar, Veronika. "Mater misericordiae Maria - testimone modello e creatura particolare della misericordia di Dio." IKON 10 (January 2017): 35–44. http://dx.doi.org/10.1484/j.ikon.4.2017004.

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Jenson, Robert. "Creator and Creature." International Journal of Systematic Theology 4, no. 2 (July 2002): 216–21. http://dx.doi.org/10.1111/1463-1652.00082.

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Cardita, Ângelo. "Le secret du déterminisme esthétique. Le rite et l’écologie de l’esprit de Gregory Bateson." Studies in Religion/Sciences Religieuses 48, no. 1 (November 14, 2018): 24–39. http://dx.doi.org/10.1177/0008429818796806.

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Cette étude se concentre sur les perspectives épistémologiques, rituelles et esthétiques de Gregory Bateson, dans le but d’ouvrir vers la possibilité d’élaborer une théologie comme anticipation d’une science de la « Creatura » – l’aspect de la réalité gouverné par la différence et l’information, qui englobe et se différencie du « Pleroma » – le monde physique sans distinction. Après avoir éclairé la portée théologique de l’écologie de l’esprit de Bateson, on discute de la « schismogenèse » dans le but de conduire à l’intuition de processus habités par l’amour contraires à la spirale de la violence, une intuition que Bateson cherchera à consolider dans une perspective esthétique, rituelle et ludique, autour de l’idée d’une sorte de déterminisme qui fonctionne comme un secret – comme un savoir silencieux et toutefois partagé, qui doit être révélé et gardé en même temps. Cette étude soutient que le rite est la réalité religieuse caractérisée par le déterminisme esthétique dont parle Bateson. Le rite est la réalité paradigmatique de la nouvelle épistémologie en quête de la « structure qui relie », non seulement à l’intérieur de la religion comme « sacrement », mais aussi comme reprise de la dynamique de la vie de la « Creatura ». Cette reprise est d’ordre esthétique et se concrétise comme une différence qui crée une différence. On conclut en considérant les possibles objections au secret comme instrument de contrôle et pointant vers la situation actuelle de la théologie à l’égard des sciences humaines.
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Dissertations / Theses on the topic "Creatura"

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Peters, Ana Paula. ""Nasce toda creatura com sua ventura"." reponame:Repositório Institucional da UFPR, 2013. http://hdl.handle.net/1884/33780.

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Resumo: O entremez, uma forma teatral cômica, é uma fonte possível para acompanharmos alguns aspectos e transformações da sociedade portuguesa do século XVIII, olhando para seus costumes, o cotidiano da vida familiar e principalmente, para a maneira como foi construída algumas ideias sobre o casamento. As reações ao tradicionalismo, a educação feminina, ao papel social da mulher nesta cultura, seu relacionamento com os homens, seja o pai ou amante/futuro marido, com a mãe, com as modas e mesmo as suas possibilidade de se divertir nesta sociedade são alguns dos temas a serem analisados. Também foram encontradas criticas às práticas sociais da sociedade de corte, como os dirigidos às relações afetivas, principalmente à contestação da prática do casamento arranjado e a sátira aos costumes da nobreza. O entremez é estruturado de acordo com os elementos básicos do texto teatral cômico, apresentando intrigas e linguagem peculiares, que tem como objetivo a rápida identificação dos personagens recorrentes com as situações cotidianas, um dos motivos para a sua grande aceitação e divulgação no período estudado.
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Mastrodonato, Michela. "«Pietà per la creatura !» : Il sentimento del sacro nella poesia di Pier Paolo Pasolini." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040124.

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L’écoute du sacré touche les racines de la poésie de Pasolini, même si il se décrit comme un athée. La recherche analyse sa poésie dans sa chronologique: les collections de la jeunesse (La meglio gioventù et L’usignolo della Chiesa Cattolica) sont caractérisées par visions et images christologiques dans un paysage de «apparences sacrée» où il découvre l’homosexualité comme une «faute innocente», pas intentionnelle, qui lui empêche d'entrer en communion avec les autres créatures. Pour ce péché il demande écoute, engageant une dispute biblique et théologique. Avec l'arrivée à Rome s’ouvre une nouvelle phase: Pasolini découvre la dimension chorale des banlieues romaines et cette découverte rompt son isolement intellectuel (Le ceneri di Gramsci). Alors il cesse de demander pardon et revoit le concept de péché qui n'est plus à l'intérieur mais aussi à l'extérieur de lui-même, commis par qui (la bourgeoisie néo-capitaliste, hégémonique, irréligieuse et « fasciste ») empêche chaque «créature» d'être telle qu'elle est. Pour chaque «créature», unique, Pasolini appelle à la miséricorde: «Pitié pour la créature!» (La religione del mio tempo) et construit, dans le chemin de la meilleure tradition humaniste de Virgile à Dante à Leopardi, une vision sacrée de la réalité inscrite dans un horizon non « créationniste » mais certainement « créaturelle», dans lequel Dieu ne peut pas être vu mais seulement aperçu à la façon d’un soleil éclipsé, lumière occulte dont on ne voit pas la source, qui tombe sur les créatures (surtout les dernières et les marginalisés) et qui leur donne une vie pleine de sens poétique: l'incarnation du «surhumain» dans l’«humaine» (Trasumanar et organizzar)
The sense of a sacred vision deeply influences the poetry of Pasolini. This research paper confronts the fact that P. always saw himself as an atheist. It analyses his poetry in its chronological evolution, indicating how the first collections (La meglio gioventù and L’Usignolo della Chiesa Cattolica) are characterized by Christological visions and images. In Friuli, in a maternal landscape made up of “sacred appearances”, he discovers his homosexuality as a "guilty innocent", something not intentional and that prevents him from the communion with other creatures. For this sin, he asks to be heard, engaging in a biblical-theological dispute. His arrival in Rome opens a new phase: P. discovers the choral dimension of the Roman suburbs that breaks the previous isolation (Le ceneri di Gramsci). He stops asking for forgiveness and reviews the concept of sin that is not only internal, but also external, committed by the neo-capitalistic bourgeoisie who is both irreligious and “fascist”, preventing any single “creature” from being as it truly is. For every “creature”, unique and different from all the others, P. calls for mercy: «Pity the creature!» (La religione del mio tempo) and in the wake of the best humanistic tradition from Virgil to Dante onwards to Leopardi, he builds a sacred vision of reality which is inscribed into a philosophical horizon, not “creationist” but “creatural", in which God is felt rather than seen, like an eclipsed sun, a dimmed light whose source is impossible to see. A light which illuminates the last “creatures” (workers and all marginalized people), the incarnation of celestial dimension in human history (Trasumanar e organizzar)
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Purser-Hallard, Philip. "The relationship between creator and creature in science fiction." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249858.

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Ruiz, Quintana Ricardo. "NICOLÁS DE CUSA: LA CONCEPCIÓN DEL HOMBRE A PARTIR DE LO DIVINO." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2019. http://hdl.handle.net/20.500.11799/104478.

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Escudriñar el pensamiento y las propuestas de un autor a través de distintos títulos que abarcan una obra tan vasta como compleja, es sólo el primer paso para querer escribir sobre él, pero no es suficiente para revelar, o siquiera comprender a totalidad la intención que éste tuvo al hacerla, pero ejercer un esfuerzo para lograrlo es parte de la labor filosófica. Es desde ahí que uno acepta que no se puede esgrimir una opinión que asegure abordar cada una de las formulaciones marcadas en los distintos trabajos realizados a lo largo de su vida, puesto que, a pesar de que el enfoque siempre sigue una línea, en ésta hay una variedad de problemáticas que se entrelazan para dar sentido a una propuesta; en el caso de este trabajo de investigación, se tiene como finalidad determinar el concepto que tiene del hombre, así como su lugar y su función, partiendo de la idea de Dios.
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Veniel, Jean-Claude. "Createurs, creatures et creation dans l'oeuvre de marcel ayme." Lille 3, 1988. http://www.theses.fr/1988LIL30012.

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Marcel ayme, individualiste, denonce les institutions, surtout politiques, qui imposent leur pouvoir au detriment de la liberte de l'individu, noye dans la foule. L'ecrivain recuse le materialisme d'une civilisation ou l'homme perd son ame et ou triomphent les masques du rang social et des institutions religieuses, judiciaires, politiques. Beaucoup d'hommes essaient de fuir un reel decevant dans les paradis imaginaires, la folie ou la mort, d'autant plus que la pratique du masque affecte aussi la vie du couple et de la famille. L'individu parait alors responsable de l'emprise du masque, dont la parole est le materiau essentiel. Il a, en effet, peu de gout pour la verite, aussi dangereuse que le mensonge. C'est, nous dit marcel ayme, que le mal est naturellement dans la creature comme il est en dieu, et que le peche est necessaire a la vie. L'ecrivain nous invite donc a accepter les creatures comme elles sont, et a cultiver l'esperance. Sa quete spiritualiste lui fait rejeter le carcan de la raison, l'heritage intellectualiste du xixeme siecle, litteraire, scientifique et religieux; elle le pousse a renouer avec les croyances instinctives, le culte des morts et des dieux sensibles. Il tente d'y retrouver les racines d'une foi qui ne l'habite pas. Sa quete de dieu est celle du pere, celle de sa propre identite, que revele le mythe obsessionnel des jumeaux. La creation fondamentale etant celle du verbe, assimile a dieu, l'exercice de son pouvoir demiurgique par l'ecrivain lui fait trouver en lui-meme le createur qu'il cherchait, plus libre que dieu, plus acheve grace a sa condition mortelle
Marcel ayme, an individualist, condemns all kinds of institutions and above all political ones, which exert their overwhelming power, depriving the individual of all freedom submerged as he is in the multitude. He rejects a materialistic civilization where man's soul vanishes and where the masks of social status are triumphant. Many a man, in his attempt to escape from a deceptive reality, indulges in imaginary paradises, in madness or death, since using the masks also impairs couple and family life. Therefore, the individual appears to be responsible for the pervading power of the mask. Indeed, he does not care much for truth which is as dangerous as lies. This stems from the fact that evil is, by nature, part of man as well as god and that sin is necessary for life. Thus, the writer invites us to accept creatures as they are and to remain hopeful. Throughout his spiritualistic quest, he throws off the yoke of reason, the legacy from the nineteenth century's intellectualism. He is urged to turn anew towards instinctive beliefs, the worship of the dead and of responsive gods. He endeavours to rediscover the roots of a faith which has never grown in him. His quest of god is the father's, it is that of his own identity which is reveales by the obsessional myth of twins. Because basic creativeness comes from the word which is god, its divine power wielded by the writer, leads him to find in himself the creator he was searching for, freer than god
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Junior, Newton Ribeiro Rocha. "Creator and creature in William Gibson´s "Neuromancer": the promethean motif in science fiction." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/ECAP-7E2KKV.

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The human pursuit of knowledge is the core of the Prometheus myth and science fiction (SF). The punishment of Prometheus is a reflection of the double nature of know­ledge: it can be used for the benefit or the destruction of humanity. SF shares this topic, representing the complex relation between the human race and knowledge through many forms: the encounter with alien cultures and extraterrestrials, the consequences of technologi­cal development, and the confrontation between civilization and its creations. SF works are contemporary representations of the Promethean drama, especially in the narratives that deal with the relation between creators and creatures. This relation is a reaction to what Hans Blu­menberg calls the "absolutism of reality": humankind's belief that it cannot fully control the conditions of its existence. The creator-versus-creature drama in SF evolves through a pro­gressive selection of narratives that aim to give the Prometheus myth a final interpretation. From the monstrous creature of Mary Shelley's Frankenstein to the godlike artificial intelli­gences of William Gibson's Neuromancer, the relation between creator and creature in SF de­veloped into new and complex configurations. SF's cyberpunk genre attempts to overcome the creator and creature dichotomy through the humanization of the creature and the objecti­fication of human identity, summarized in the figure of the cyborg. Contemporary cyberpunk literature unifies humankind and its machines in a post human existence, where the differenc­es between organic and artificial self-awareness are demoted. The Prometheus myth is then turned into a quest of identity by beings that are both creators and creatures.
A busca humana do conhecimento é o núcleo principal do mito de Prometeus e da literatura de ficção científica (FC). A punição de Prometeus é um reflexo da natureza dupla do conhecimento: ele pode ser usado para o benefício ou a destruição da humanidade. A FC também lida com este tópico, representando a relação complexa entre a humanidade e o conhecimento através de várias formas: o encontro com culturas alienígenas, as conseqüências do desenvolvimento tecnológico e o confronto entre a civilização e suas criações. As obras de FC são representações contemporâneas do drama prometeico, especialmente nas narrativas que lidam com a relação entre criadores e criaturas. Esta relação é uma reação ao que Hans Blumenberg chama de absolutistmo da realidade, a crença da humanidade de que não pode controlar completamente as condições de sua existência. O drama do criador versus a criatura na FC evolve através de uma progressiva seleção de narrativas que procura dar ao mito de Prometeus uma interpretação final. Da monstruosa criatura do Frankenstein, de Mary Shelley até as inteligências artificiais com características divinas presentes em Neuromancer, de William Gibson, a relação entre o criador e criatura na FC desenvolveu-se em novas e complexas configurações. O subgênero cyberpunk da FC tenta superar a dicotomia entre o criador e a criatura através da humanização da criatura e da objetificação da identidade humana, sumarizada na figura do ciborgue. A literatura cyberpunk contemporânea unifica a humanidade e suas máquinas em uma existência pós-humana, na qual a diferença entre consciências orgânicas e artificiais são esquecidas. Assim, o mito de Prometeus se transforma em uma busca pela identidade de seres que são ao mesmo tempo criadores e criaturas.
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Sonoquie, Neesa. "Lucky Creature." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1013.

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Lucky Creature is a collection of poems that considers particular aspects of being human, specifically love, death, isolation, and the nature of knowledge. A primary concern is the body, explored as a vehicle for shame. The role of imagination as a means of escape is also paramount, leading always toward an act of transformation as a chance at immortality in an entropic universe where everything has a shelf life.
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Flouton, Emily Suzanne. "Creature of Detours." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4561.

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This collection of short stories explores themes of contemporary gender performance through the lens of the fairy tale. The stories examine both the reverberations canonical tales continue to have in American society today, and the new iterations of fairly tales we encounter in modern culture, particularly those which we burden young women through film and television. Within the collection of stylistic conceits and narrative concerns specific to the fairy tale, these stories feature isolated narrators and themes of journeying through the forest. Each of these tales presents a female character or characters going into a metaphorical woods; the stories also often invoke the literal woods. The idea of "the handsome prince" figures here as well, in different explorations (most often lampoons) of contemporary masculinity. Many of these stories also foreground the particular dynamics and complexities of relationships between women: friends, rivals, lovers, teachers and students, mothers and daughters.
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Harley, James. "Analysis of Cantico delle Creature." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41606.

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This thesis presents an analysis of Cantico delle Creature, a composition for mezzo-soprano solo, chamber choir, chamber orchestra, and computer-generated sounds. The choir and orchestra are divided into two spatially separated groups, with the soloist one percussionist (who plays the tam-tams, at the same time triggering the playback of the pre-synthesized sounds) providing a central link between the two ensembles. This work, which lasts approximately twenty-three minutes, sets a text of the same title by Saint Francis of Assisi. The analytical paper which accompanies the composition examines the text, the relation of the text to the form of the piece, the formal structure and textural organization of the music, the use of spatialization, along with the pitch organization and details regarding the creation and playback of the synthesized sounds. In addition, there is a discussion of the use of the computer as a compositional tool, in particular the utilization of CHAOTICS, compositional software based on nonlinear or "chaotic" functions.
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Mueller, Johanna. "Creature alterations, myth & transformations." Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4568.

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Thesis (M.F.A.)--George Mason University, 2009.
Vita: p. 72. Thesis director: Helen Frederick. Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Art and Visual Technology. Title from PDF t.p. (viewed Oct. 11, 2009). Includes bibliographical references (p. 69-71). Also issued in print.
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Books on the topic "Creatura"

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Bayer, Oswald, and Benjamin Gleede, eds. Creator est Creatura. Berlin, Boston: DE GRUYTER, 2007. http://dx.doi.org/10.1515/9783110921663.

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La creatura del desiderio. Milano: Skira, 2013.

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Francesco: Canto di una creatura. [Milan, Italy]: Frassinelli, 2007.

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Collo, Paolo. Il passato è una curiosa creatura. Bagno a Ripoli (Firenze): Passigli, 2011.

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Collo, Paolo. Il passato è una curiosa creatura. Bagno a Ripoli (Firenze): Passigli, 2011.

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Trafficanti di sogni: Hollywood, creatura ebraica. Genova: Effepi, 2011.

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Genesi: Cantico della creazione, cantico della creatura. Bologna: EDB, 2002.

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Dolci, Danilo. La creatura e il virus del dominio. Latina: L'Argonauta, 1987.

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Rahner, Johanna. Creatura Evangelii: Zum Verhältnis von Rechtfertigung und Kirche. Freiburg im Breisgau: Herder, 2005.

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Gherardini, Brunero. Creatura Verbi: La Chiesa nella teologia di Martin Lutero. Roma: Edizioni Vivere in, 1994.

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Book chapters on the topic "Creatura"

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Patzold, Steffen. "Visibilis creatura – invisibilis salus." In Zwischen Wort und Bild, 79–308. Köln: Böhlau Verlag, 2010. http://dx.doi.org/10.7788/boehlau.9783412213206.79.

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Longo, Giuseppe O. "La Creatura Planetaria ovvero l’immortalità virtuale." In Homo immortalis, 162–255. Milano: Springer Milan, 2012. http://dx.doi.org/10.1007/978-88-470-2044-3_5.

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Ulanowicz, Robert E. "Process Ecology: Creatura at Large in an Open Universe." In Biosemiotics, 121–34. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6706-8_8.

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Dawson, Sandra. "Culture: Creature or Creator?" In Analysing Organisations, 141–63. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24846-9_6.

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Dawson, Sandra. "Culture: Creature or Creator?" In Analysing Organisations, 136–58. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22061-8_6.

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Nurbhai, Saleel, and K. M. Newton. "The Relationship between Creator and Creature." In George Eliot, Judaism and the Novels, 69–90. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230288539_5.

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Deacon, Terrence, and Jeremy Sherman. "The Pattern Which Connects Pleroma to Creatura: The Autocell Bridge from Physics to Life." In Biosemiotics, 59–76. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6706-8_5.

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Chapot, Frédéric. "Orat omnis creatura. Remarques sur Tertullien, De oratione, 29, et la prière des animaux." In Recherches sur les Rhétoriques Religieuses, 181–93. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.rrr-eb.5.126680.

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Altman, Matthew C., and Cynthia D. Coe. "Fichte: The Self as Creature and Creator." In The Fractured Self in Freud and German Philosophy, 27–52. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137263322_3.

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McMenamin, Mark A. S. "Crystal Creature." In Springer Geology, 103–24. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-74256-4_4.

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Conference papers on the topic "Creatura"

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Seol, Yeongho, Carol O'Sullivan, and Jehee Lee. "Creature features." In the 12th ACM SIGGRAPH/Eurographics Symposium. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2485895.2485903.

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Ushigome, Yosuke, Kunihiro Nishimura, and Michitaka Hirose. ""structured creature"." In the 2008 International Conference in Advances. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1501750.1501822.

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Ushigome, Yosuke, Kunihiro Nishimura, and Michitaka Hirose. ""structured creature"." In the 2008 International Conference in Advances. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1501750.1501851.

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Fender, Andreas, Jörg Müller, and David Lindlbauer. "Creature Teacher." In SUI '15: Symposium on Spatial User Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2788940.2788944.

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Pilat, Marcin L., and Christian Jacob. "Creature Academy: A system for virtual creature evolution." In 2008 IEEE Congress on Evolutionary Computation (CEC). IEEE, 2008. http://dx.doi.org/10.1109/cec.2008.4631243.

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Mauriello, Dave. "Hybrid creature project." In SIGGRAPH '18: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3215641.3215652.

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Liu, Qi, Guifeng Wang, Hongke Zhao, Chuanren Liu, Tong Xu, and Enhong Chen. "Enhancing Campaign Design in Crowdfunding: A Product Supply Optimization Perspective." In Twenty-Sixth International Joint Conference on Artificial Intelligence. California: International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/97.

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Abstract:
Crowdfunding is an emerging Internet application for creators designing campaigns (projects) to collect funds from public investors. Usually, the limited budget of the creator is manually divided into several perks (reward options), that should fit various market demand and further bring different monetary contributions for the campaign. Therefore, it is very challenging for each creator to design an effective campaign. To this end, in this paper, we aim to enhance the funding performance of the newly proposed campaigns, with a focus on optimizing the product supply of perks. Specifically, given the expected budget and the perks of a campaign, we propose a novel solution to automatically recommend the optimal product supply to every perk for balancing the expected return of this campaign against the risk. Along this line, we define it as a constrained portfolio selection problem, where the risk of each campaign is measured by a multi-task learning method. Finally, experimental results on the real-world crowdfunding data clearly prove that the optimized product supply can help improve the campaign performance significantly, and meanwhile, our multi-task learning method could more precisely estimate the risk of each campaign.
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Grand, Stephen, Dave Cliff, and Anil Malhotra. "Creatures." In the first international conference. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/267658.267663.

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van der Zalm, john. "evolution of a creature." In ACM SIGGRAPH 2006 Teapot. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1180098.1180140.

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Skwarek, Mark. "CreatAR." In ACM SIGGRAPH 2013 Mobile. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2503512.2503539.

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Reports on the topic "Creatura"

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Sonoquie, Neesa. Lucky Creature. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1013.

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Herrero-Diz, P., M. Ramos-Serrano, and J. Nó. Minors as creators in the digital age: from prosumer to collaborative creator. Theoretical review 1972-2016. Revista Latina de Comunicación Social, December 2016. http://dx.doi.org/10.4185/rlcs-2016-1147en.

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Flouton, Emily. Creature of Detours. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6446.

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Mansour, Hesham. TIME A CREATURE OF GOD. Academic Journal of Scientific Miracles, December 2015. http://dx.doi.org/10.19138/miracles.37.2.

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Stern, B. Clothing creator trademark : Business plan. Office of Scientific and Technical Information (OSTI), October 1990. http://dx.doi.org/10.2172/6318055.

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Watson, Jean-Paul, Jean-Paul Watson, Guillaume Goujard, Guillaume Goujard, David Woodruff, and David Woodruff. Mape Maker: A Scenario Creator. Office of Scientific and Technical Information (OSTI), September 2019. http://dx.doi.org/10.2172/1561444.

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Sierra, Eduardo, Omar Villacorta, and Alejandro Rueda. La financiación de la economía creativa en Colombia. Inter-American Development Bank, October 2020. http://dx.doi.org/10.18235/0002787.

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Rodríguez Oliva, Lázaro I. Economía creativa en América Latina y el Caribe: Mediciones y desafíos. Edited by Alejandra Luzardo. Inter-American Development Bank, August 2018. http://dx.doi.org/10.18235/0001308.

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DePasquale, Jenna. Working From Home: Analyzing the Autonomy of App-Based Adult Content Creators. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7429.

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Alonso González, Carmen María. La estrategia creativa en la publicidad turística. El caso de Castilla y León. Revista Latina de Comunicación Social, 2008. http://dx.doi.org/10.4185/rlcs-63-2008-753-043-062.

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