Relevant bibliographies by topics / George Temple

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

Academic literature on the topic 'George Temple'

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

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Journal articles on the topic "George Temple"

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Kilmister, C. W. "George Frederick James Temple." Bulletin of the London Mathematical Society 27, no. 3 (May 1995): 281–87. http://dx.doi.org/10.1112/blms/27.3.281.

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Mogarichev, Yuriy, and Alena Ergina. "Fresco Paintings of Southwest Crimea Cave Churches According to Igor Grabar." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 116–30. http://dx.doi.org/10.15688/jvolsu4.2020.6.8.

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Introduction. Today, the remains of fresco paintings are preserved in six cave churches of Taurica: the temple of the Southern Monastery (Mangup); church in the field of Kielse-Tubu (district of Mangup); the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the church number 12 on Zagaytansky rock (Inkerman). Authors of the 19th – early 20th centuries left descriptions of the now lost murals of six more monuments. Methods. Frescos of Crimean cave churches in historiography received insufficient comprehension. Only one monograph was published on this issue (1966). Analysis. Opinions and comments regarding the mural paintings of the cave churches of Crimea, expressed by reputable art historians and specialists in fresco paintings, are relevant. These include Igor Grabar. He was in Crimea in 1927, as the head of the Central Art Conservation Center by Glavnauka of the RSFSR. The Manuscript Department of the State Tretyakov Gallery stores leaflets from the notebook “Igor Grabar’s trip notes in the Crimea and about Old Russian art”. Authors publish the full text of Igor Grabar’s notes concerning the murals of cave churches: the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the temple of the Southern Monastery (Mangup). Results. Igor Grabar’s notes help us clarify many points of view in the study of frescos of cave temples in Crimea. The study of the murals of the temple of the Three Horsemen by Igor Grabar allows us to justifiably discard the versions of “three Georges” and “portraits of real local figures”. There are images of three holy warriors: Dmitry, Theodore (Stratilates or Tyrone), and George in the cave temple. The study of the Mangup Church fresco by Igor Grabar allowed us to develop a periodization of the formation of fresco paintings of this monument.
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조전래. "George Herbert’s The Temple: Conflict？Completeness？ Confidence." Studies in English Language & Literature 34, no. 2 (April 2008): 143–68. http://dx.doi.org/10.21559/aellk.2008.34.2.009.

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Halli, Robert W., John N. Wall, and Barbara Leah Harman. "George Herbert: The Country Parson, the Temple." South Atlantic Review 50, no. 2 (May 1985): 108. http://dx.doi.org/10.2307/3199241.

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DONOGHUE, WILLIAM. "A CURIOUS TENANT IN GEORGE HERBERT'S TEMPLE." Notes and Queries 47, no. 2 (June 1, 2000): 179–80. http://dx.doi.org/10.1093/nq/47-2-179.

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DONOGHUE, WILLIAM. "A CURIOUS TENANT IN GEORGE HERBERT'S TEMPLE." Notes and Queries 47, no. 2 (2000): 179–80. http://dx.doi.org/10.1093/nq/47.2.179.

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Faber, Ben. "The Art of Divine Meditation in George Herbert’s The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 73–89. http://dx.doi.org/10.1177/0148333116679117.

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George Herbert’s The Temple exemplifies the principles of Protestant meditation described by Joseph Hall in The Art of Divine Meditation (1606). Shaped by Catholic and Protestant traditions, Hall’s approach to meditation combines deliberate and extemporary reflection on natural and artificial objects. Like Hall, Herbert in The Temple practices the Augustinian habit of reading mundane signs as emblems with spiritual signification. More particularly Hallian are the stages—from the preparation of the subject for meditation through the dynamic concentration on the object of meditation to the transformation of the subject—that the reader of Herbert’s poems follows. Taken individually, in sets, and in the whole three-part collection, the sacred poems and private ejaculations of The Temple are spiritual exercises that bear the hallmarks of Anglican meditation.
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Schoenfeldt, Michael Carl. "George Herbert's Divine Comedy: Humor in The Temple." George Herbert Journal 29, no. 1 (2008): 45–66. http://dx.doi.org/10.1353/ghj.2008.0004.

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Murel, Jacob. "The Multiple Temporalities of George Herbert's The Temple." George Herbert Journal 40, no. 1-2 (2016): 41–58. http://dx.doi.org/10.1353/ghj.2016.0014.

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Chenovick, Clarissa. "Reading, Sighing, and Tuning in George Herbert's Temple." Huntington Library Quarterly 82, no. 1 (2019): 155–74. http://dx.doi.org/10.1353/hlq.2019.0007.

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Dissertations / Theses on the topic "George Temple"

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Gaw, Cynthia. "Freedom in George Herbert's 'The Temple'." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683068.

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Chong, Shiao Choong. "The temple of communion, George Herbert and dialogism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22521.pdf.

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Lang-Graumann, Christiane. "Counting ev'ry grain : das Motiv des Allerkleinsten in George Herberts 'The temple' /." Münster (Deutschland) : Waxmann, 1997. http://catalogue.bnf.fr/ark:/12148/cb38880610g.

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Sutton-Jones, Andrew. "The pleasure of the temple : A Barthesian reading of George Herbert's poetic struggle." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527577.

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Warner, Matthew Gordineer. "Expecting a ring and finding a round : sequence and order in George Herbert's The Temple." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58969.

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This thesis is concerned with the sequential nature of George Herbert’s The Temple. By engaging with this volume of poetry as a cohesive unit with structures that extend beyond any one poem, it is shown that that although Herbert’s poetry is richly productive, it is also limited and self-undermining, expressing the ultimately contingent nature of human art. The structures examined are of two kinds, dealt with in turn: first, those that are typographical and emerge from the physical presentation of Herbert’s poems on the pages of the first edition of 1633, and second, formal structures modelled by particular poems in the collection, which provide insight and reflection into the functioning of the whole. In the first category are poems that share common titles (“Love” (I), “Love” (II), “Love” (III), for example) as well as the particular arrangements of poems such as “Hope” and “Sinnes Round” on the page, which suggest connections and relationships between these poems that are not apparent when viewed individually or in the abstract. The second kind of feature examined is found in a wide variety of Herbert’s poems, and is the tendency of these poems to model particular kinds of reading practice that are applicable to the reading of The Temple itself. Poems such as “Prayer” (I) and “The Sacrifice” exhibit modes of accumulation and revision that suggest how multiple poems may be combined to produce larger structures of meaning, while poems such as “The Flower” and “The Pulley” demonstrate how such structures are necessarily incomplete and flawed. Finally, a turn to the poems “Vertue” and “Love” (III) explores how Herbert’s poetry engages with questions of finitude and conclusion.
Arts, Faculty of
English, Department of
Graduate
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Coatalen, Guillaume. "La stratégie poétique de George Herbert." Paris 3, 2002. http://www.theses.fr/2002PA030053.

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La thèse propose d'examiner l'ensemble des moyens poétiques, des plus visibles aux plus cachés, mis en œuvre par Herbert en vue d'une fin double, sa propre édification et la louange de Dieu. Le poète a créé une poésie liturgique qui fondait l'Église anglicane. En l'absence d'un système théologique constitué, The Temple (1633) est l'œuvre majeure de la période la plus glorieuse de l'anglicanisme. Herbert a jeté les bases de la confession nationale en forgeant une poésie dont le moindre élément exalte la relation d'un je au divin. Pour ce faire, il s'est évertué à imiter le Christ, conçu comme le premier des poètes, à travers un verbe poétique régénéré. Cette nouvelle rhétorique constitue d'abord un monde qui renvoie dans un même temps au courtisan, premier lecteur de ces poèmes, ainsi qu'aux figures du poète et du Christ. Elle s'attèle ensuite au problème poétique fondamental de l'évocation d'un Dieu à la fois immanent et inaccessible. La métaphore en particulier fera écho au mystère de l'incarnation alors que le style simple reflétera l'humilité du Sauveur. .
This thesis intends to examine the various poetic means from the most to the least obvious that Herbert uses for a double purpose: for his own edification as well as to praise God. This poet created a liturgical poetry, which contributed to the foundation of the Church of England. For a church that has never developed a systematic theology, The Temple (1633) became an important work of its most glorious past. Herbert laid the foundation of a national creed by producing poetry in which every single element celebrates the relationship between the subject and God. To this end, he attempts to imitate Christ, whom he regards as the greatest poet, and to recreate a poetic Word. His new rhetoric conjures up a world related to that of the courtier in the first place, but also to the figure of the poet and Christ. At another level, his rhetoric deals with the basic problem of religious poetry of how to invoke a God who is immanent and inaccessible at the same time. His metaphors evoke the mystery of incarnation, while his simple style reflects the Saviour's humility. .
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Dyck, Paul Henry. "All the constellations of the storie, George Herbert's Temple and English seventeenth-century textual common places." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59952.pdf.

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Clawson, Nicole Perry. "Obliterating Middle-Class Culpability: Sarah Grand's New Woman Short Fiction in George Bentleys Temple Bar." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6317.

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Scholars interested in the popular Victorian periodical Temple Bar have primarily focused on the editorship of George Augustus Sala, under whom the journal paradoxically began delivering controversial content to conservative middle-class readers. But while the Temple Bar's sensation fiction and social realism have already been considered, critics have not yet examined Temple Bar's New Woman fiction, which was published during the last decade of the 19th century and George Bentley's reign as editor-in-chief. While functioning as editor-in-chief, Bentley sought to adhere to the dictates found in the 1860 prospectus, to "inculcate thoroughly English sentiment: respect for authority, attachment to the Church, and loyalty to the Queen." The Temple Bar seems an odd publication venue for the audacious New Woman writer Sarah Grand. And yet, Grand published several short stories in Temple Bar under the editorship of Bentley. Knowing Bentley's infamous editorial hatchet work, we might assume that he would cut from Grand's writing any unsavory bits of traditional New Woman content. Instead, a comparison of Grand's Temple Bar stories, "Kane, A Soldier Servant" and "Janey, A Humble Administrator," with their later unedited, republished versions (found in Grand's Our Manifold Nature) suggests that Bentley had a different editorial agenda. This analysis of Grand's fiction demonstrates that it was not New Woman subjects that Bentley found objectionable but the culpability her texts placed on the upper-middle class for their failure to act on behalf of the lower classes. Examining Bentley's removal of this material thus sheds new light on the dangers of New Woman literature as perceived by its Victorian audiences.
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Van, Thienen Jean-Christophe. "Jeux d’écriture, tache aveugle et musée imaginaire dans l’œuvre de George Herbert (1593-1633)." Paris 3, 2007. http://www.theses.fr/2007PA030109.

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Dans The Temple (1633), George Herbert cisèle des techniques littéraires déjà expérimentées dans ses écrits en prose ou en latin. Les plus marquantes, soit l’anagramme et le jeux de mots, ne constituent pas, dans sa poétique, des artifices stylistiques mais bien des outils théologiques qui permettent au prêtre-poète d’élaborer une dialectique du Salut se fondant sur une opération permanente de caché/révélé au sein de chacun des poèmes de l’œuvre. Il réactive lors du processus les écrits des Pères de l’Église et des grandes figures de la pensée mystique tels Thomas à Kempis, Henri Suso ou Jacopone da Todi tout comme sont recyclés les genres littéraires profanes antérieurs et contemporains ou les expérimentations anagrammatiques de Cabalistes chrétiens comme Guy Le Fèvre de la Boderie ou Blaise de Vigenère. Dans le contexte de la nouvelle Querelle des Images l’auteur entend chasser l’image pieuse et le livre d’emblème de la sphère religieuse anglaise au profit du seul Verbe et du vernaculaire. Herbert s’adonne à un iconoclasme virtuel et s’ingénie à remplacer l’image per se par autant d’images mentales conformes au dogme et contribuant à l’émergence du lecteur moderne. Sa poétique s’oppose du même coup à la Contre-Réforme, Jésuite en particulier, et aura pour objectif majeur l’affirmation de la légitimité et de la suprématie de la jeune Église d’Angleterre
This research focuses on George Herbert’s frequent resorting to puns and anagrams in The Temple and his other works in prose and Latin. These are not to be viewed as mere tongue-in-cheek oddities but much rather as genuine literary as well as theological devices. This innovative stratagem opens on unexpectedly broad artistic scopes whilst serving a fully planned threefold religious strategy by disclosing additional layers of interpretation which are themselves profoundly embedded in dogma. The demonstration focuses on the poet’s rewriting of the Fathers of the Church’s literature and his recycling of earlier profane literary genres combined with frequent incursions in the works of Continental religious writers such as Thomas à Kempis, Henry Suso, Saint Teresa and Jacopone da Todi. This not only allowed the Bemerton priest/poet to compose a strong verbal attack on the Stuart monarchy but also to combat Jesuit propaganda and more specifically the then thriving emblem-book by imposing mental pictures, instead of actual ones, upon his potential readership, thus asserting the supremacy of the sole Word of God while promoting the full legitimacy of the then nascent Church of England
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Miller, Blaise Anne-Marie. "Le verbe fait image : iconoclasmes, écriture figurée et théologie de l'Incarnation chez les poètes métaphysiques : le cas de George Herbert." Paris 3, 2008. http://www.theses.fr/2008PA030131.

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La période située entre les deux grandes vagues de destructions iconoclastes dans l’Angleterre du XVIe et du XVIIe siècle est aussi celle où se développe une nouvelle poétique dite « métaphysique », caractérisée par un usage frappant du conceit. Ce travail, consacré à l’œuvre de George Herbert, se propose d’étudier le glissement de propriétés habituellement dévolues à l’image religieuse vers la poésie. On montrera comment la rhétorique et l’imaginaire iconomaques informent le projet littéraire et religieux d’un auteur qui cherche à convertir et purifier la poésie. Là où l’iconoclasme anglais passé et à venir extériorise une crise profonde de la notion même d’image, George Herbert cherche à la reconstruire intérieurement par une poétique efficace de la discordia concors dont le modèle est la théologie de l’Incarnation. Si Herbert rompt, comme tant d’autres poètes à la même époque, avec certaines pratiques de l’image poétique, c’est afin de mieux figurer le divin. Au-delà de sa reconquête de la ressemblance par le transport de la métaphore, c’est aussi grâce à une modalité visuelle de la lettre que Herbert parvient à suggérer l’ineffable et la transcendance divine
The period of time which stretches between the two phases of violent iconoclastic destruction in Early Modern England also corresponds to the development of a new « metaphysical » poetics characteristically known for its striking conceits. The purpose of this study, which is devoted to George Herbert, will be to show how his poetry can become endowed with some of the properties usually ascribed to the religious image. The rhetorics of iconoclasm shape Herbert’s attempt to convert and purify poetry. Whereas past and future iconoclastic destruction testifies to a deeper crisis of the notion of image, George Herbert seeks to recreate it internally through a poetics of discordia concors whose model is the Incarnation. By distancing himself, as many other contemporary poets, from certain long-standing approaches to figurative language, he reclaims for poetry the power to body forth the divine. Such a recovery of resemblance is not only made possible through the « figure of transport », the metaphor, but aslo through an iconic use of writing. Thus Herbert is able to suggest the unspeakable and the transcendance of God
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Books on the topic "George Temple"

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George, Herbert. The temple: The poetry of George Herbert. Brewster, Mass: Paraclete Press, 2001.

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Singleton, Marion White. God's courtier: Configuring a different grace in George Herbert's Temple. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Linda, Ben-Zvi, ed. The road to the temple: A biography of George Cram Cook. Jefferson, N.C: McFarland, 2005.

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Sagar, Behera Karuna, and Orissa State Archives, eds. George Webb's report on the temple of Jagannath, 19 Dec. 1807. Bhubaneswar: Orissa State Archives, Dept. of Culture, Govt. of Orissa, 2003.

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Lang-Graumann, Christiane. Counting ev'ry grain: Das Motiv des Allerkleinsten in George Herberts The temple. Münster: Waxmann, 1997.

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Todd, Richard. The opacity of signs: Acts of interpretation in George Herbert's The temple. Columbia: University of Missouri Press, 1986.

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George, Herbert. George Herbert The temple: A diplomatic edition of the Bodleian Manuscript (Tanner 307). Binghamton, N.Y: Medieval & Renaissance Texts & Studies, 1995.

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Der Priester als Poet: George Herberts The Temple im Spannungsfeld von Kirche und Individualität. Tübingen: M. Niemeyer, 2001.

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Ryley, George. George Ryley, Mr. Herbert's Temple and church militant explained and improved: Bodleian MS Rawl. D. 199. New York: Garland Pub., 1987.

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Thorpe, Douglas. A new earth: The labor of language in Pearl, Herbert's Temple, and Blake's Jerusalem. Washington, D.C: Catholic University of America Press, 1991.

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Book chapters on the topic "George Temple"

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Malcolmson, Cristina. "1624 and The Temple." In George Herbert, 53–76. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535732_3.

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Malcolmson, Cristina. "The Temple: Poems on Grace, Employment, and the Church." In George Herbert, 97–143. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535732_5.

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Kuchar, Gary. "Mystery in The Temple." In George Herbert and the Mystery of the Word, 33–69. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-44045-3_2.

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Hawkes, David. "Typology and Objectification in George Herbert’S The Temple." In Idols of the Marketplace, 115–42. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780312292690_6.

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Kuchar, Gary. "Lord Cherbury in The Temple: Faith, Mystery, and Understanding." In George Herbert and the Mystery of the Word, 159–90. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-44045-3_6.

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Kuchar, Gary. "Truth and Method: Error and Discovery in The Temple." In George Herbert and the Mystery of the Word, 191–231. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-44045-3_7.

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Netzley, Ryan. "“Take and Taste”: Sacramental Physiology, Eucharistic Experience, and George Herbert’s The Temple." In Varieties of Devotion in the Middle Ages and Renaissance, 179–206. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.asmar-eb.3.105.

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"Nicholas Ferrar, preface to ‘The Temple’, 1633." In George Herbert, 79–80. Routledge, 2013. http://dx.doi.org/10.4324/9781315004464-13.

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"George Daniel, ‘An Ode upon … "The Temple''', 1648." In George Herbert, 90. Routledge, 2013. http://dx.doi.org/10.4324/9781315004464-22.

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"Ralph Knevet, from ‘A Gallery to the Temple’, 1640s ff." In George Herbert, 84–85. Routledge, 2013. http://dx.doi.org/10.4324/9781315004464-17.

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Conference papers on the topic "George Temple"

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Murray, Owen. "FRESCO PHOTOGRAMMETRY: DOCUMENTING THE IMPERIAL CULT CHAMBER AT LUXOR TEMPLE." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12240.

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This paper discusses the photogrammetric and epigraphic documentation of the late-Roman frescoes in the Imperial Cult Chamber at Luxor Temple by the University of Chicago’s Oriental Institute, Epigraphic Survey Project. It presents a brief history of the room and overview of research related to it, while relaying the epigraphic documentation technique and methodology employed, and the use of photogrammetry to achieve those objectives.
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Amore, Raffaele, and FEDERICA CARANDENTE. "THREE-DIMENSIONAL RELIEF AND MATERIAL CHARACTERIZATION OF THE TEMPIO-MASSERIA DEL GIGANTE IN CUMAE." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12094.

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The following paper describes the work originated from a University exercise drill, made during the Restoration Lab of the architecture Department of the Università degli Studi di Napoli Federico II. It shows the results of a relief and metric characterisation campaign of the ‘Masseria del Gigante' (Giant’s Farmhouse) Temple, in Cumae, in the Naples province. This is a rural building from the XVIII century, built and extended by incorporating the rests of the cell of an ancient temple from the Flavian Age, located at the eastern border of Cumae lower city’s Foro, that was called “del Gigante” (of the Giant), because a large Jupiter’s bust was found in its proximities. Well known in the world of antiquarian dealers, it was pictured in many drawings and landscape paintings since the end of the XVII century and the first half of the XVIII, the Masseria Temple taken into exam has been acquired by the public domain only at the end of the 1990, so only after this period the first archaeological investigations were made. Afterwards, between 1996 and 2002, conspicuous restoration and securing works were made. Today the structure is used as a temporary deposit for archaeological findings and it’s among the buildings included in a wider restoration and re-functionalization project that has been proposed by the Campi Flegrei Archaeological Park and that is now about to start. The following research was developed from the structure’s relief made with photo-modelling techniques and it aimed to identify the construction methodologies and the degrading phenomena in place, with special regards to the identification of the ancient parts of the Temple, of those pertaining the conversion in a farmhouse and, lastly,, those realised during the aforementioned restoration works.
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Romli, Nada Arina. "Implementasi Transformasi Branding Kota Cimahi Sebagai Kota Kreatif." In SEMINAR NASIONAL DAN CALL FOR PAPER 2020 FAKULTAS EKONOMI DAN BISNIS UNIVERSITAS MUHAMMADIYAH JEMBER. UM Jember Press, 2021. http://dx.doi.org/10.32528/psneb.v0i0.5177.

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Penelitian yang berjudul Implementasi Transformasi Branding Kota Cimahi sebagai Creative city bertujuan mengetahui implementasi kampanye yang dilakukan Pemkot Cimahi kampanye perubahan merek Creative and Cyber (C4) menjadi Creative city dengan program pengembangan ekonomi lokal (PEL). Penelitian ini mengkaji proses pembangunan makna yang melibatkan interaksi sosial Pemkot Cimahi dan target audiens dalam perubahan merek Kota Cimahi sebagai Creative city. Penelitian ini menggunakan metode penelitian kualitatif, dengan paradigma konstruktivis, dan jenis studi kasus. Penelitian ini menggunakan teori interaksi simbolik dari George Herbert Mead. Subjek penelitiannya adalah PNS Pemkot Cimahi serta wirausahawan yang tergabung di komunitas kewirausahaan di Cimahi yang dipilih dengan teknik sampling purposif. Pengumpulan data diperoleh melalui teknik wawancara mendalam, observasi partisipan pasif, dan kajian pustaka. Hasil penelitian mengungkapkan bahwa dalam upaya menciptakan makna bersama Cimahi sebagai Creative city antara Pemkot Cimahi dan target audiens dibutuhkan sosialisasi Pemkot Cimahi kepada target audiensnya yaitu wirausahawan sebagai target utama dan masyarakat umum sebagai target kedua dengan menggunakan berbagai jenis pola komunikasi diantaranya pola komunikasi interpersonal antara Pemkot Cimahi dengan individu wirausaha di Cimahi serta masyarakat umum adalah dengan melaksanakan Forum Temu Usaha yaitu sebuah seminar dan workshop yang menghadirkan berbagai pakar wirausaha yang diundang oleh Pemkot Cimahi serta komunitas wirausaha Cimahi diantaranya Cimahi Creative Association (CCA) yang bergerak di bidang teknologi animasi, Ikatan Wanita Pengusaha Indonesia (IWAPI) regional Cimahi, Komunitas Kewirausahawan Muda Cimahi (KWACI). Pola komunikasi organisasi yang dilakukan pemerintah kepada komunitas wirausaha dengan menggunakan media sosial, selain itu pola komunikasi organisasi pun dilakukan dengan menggunakan media luar ruang seperti poster yang ditempel di tempat-tempat pertemuan komunitas wirausaha dan mading Pemkot Cimahi, menyelenggarakan pameran kewirausahaan, membuat gerakan “Cinta Produk Lokal Cimahi”, membuat website PEL, promosi menggunakan media sosial seperti Facebook serta, melaksanakan Forum Group Discussion Sementara pola komunikasi massa yang dilakukan oleh Pemkot Cimahi kepada masyarakat umum untuk mensosialisasikan perubahan merek Kota Cimahi yaitu dengan mengundang jurnalis untuk peliputan dan penayangan di TV nasional maupun lokal, memasang iklan di TVRI, dan menyelenggarakan Talkshow anggota PEL menayangkan TVRI, dan membuat buku profil komunitas wirausaha Cimahi
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Scianna, Andrea, Giuseppe Fulvio Gaglio, and Marcello La Guardia. "ACCESSIBILITY TO UNDERWATER CULTURAL HERITAGE: INTERACTIVE WEB NAVIGATION OF THE ROMAN SUBMERSED VESSEL OF CALA MINNOLA." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12148.

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The possibilities offered by photogrammetric reconstruction based on computer vision algorithms allowed in recent years to develop new interesting solutions for the use and dissemination of knowledge on Cultural Heritage (CH). In the same way, the recent technological development in the field of Virtual Reality (VR) has offered new possibilities for the creation of interactive virtual environments which can be freely accessed via the browser using any type of device. These technologies acquire an additional relevance if applied to archaeological sites or monuments that are difficult to access, or even totally inaccessible, except by specialized personnel. In this case the virtual fruition on web becomes strategic for the valorization of CH, as in the case of submerged archaeological sites, where the virtual tour represents in fact the only opportunity of diffuse accessibility. The present case shows the virtual reconstruction of the wreck area of the Roman ship found on the seabed of Cala Minnola on the island of Levanzo (TP, Italy). The model, obtained from a Structure from Motion (SfM) processing of a chunk of photos originally intended for a traditional photogrammetric survey, was edited and inserted into a specific template based on HTML5 and linked to Javascript libraries (Three.js) which allowed browsing on web. Subsequently, the navigation model was appropriately adapted to the purpose, so as to make the use of the network more intuitive possible, considering any type of device and using the most common browsers (Chrome, Safari, Firefox). This experimentation is a viable procedure for spreading the knowledge of a submerged archaeological site in a simple way, by web-browsing. This type of navigation models with the future development of 5G networks will find greater diffusion and application, with the possibility of including increasingly complex environments in the navigation.
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Grdzelidze, Irma, and Nato Alavidze. "“HARMONIZING QUALITY ASSURANCE STRATEGIES IN GEORGIA WITH STANDARDS FOR QUALITY ASSURANCE IN THE EUROPEAN HIGHER EDUCATION AREA (ENQA)’’ -DISSEMINATION STRATEGY IN THE FRAMEWORK OF TEMPUS PROJECT." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.1204.

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