Academic literature on the topic 'Ignacio (1960-....)'
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Journal articles on the topic "Ignacio (1960-....)"
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Sols Lucia, José. "Ignacio Ellacuría, filósofo mártir de la realidad histórica, discípulo de Xavier Zubiri." Revista Portuguesa de Filosofia 76, no. 4 (January 31, 2021): 1619–58. http://dx.doi.org/10.17990/rpf/2020_76_4_1619.
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Father Ignacio Ellacuría (1930-1989) was a Spanish Jesuit philosopher and the most important disciple of another great Spanish philosopher, Xavier Zubiri (1898-1983). Ellacuría was sent to El Salvador (Central America) in 1949 at eighteen, and after degrees in humanities, philosophy, and theology in Ecuador and Austria (where he was disciple of Karl Rahner), he travelled to Spain in 1962 for doctoral studies with Zubiri. There he became perhaps the leading specialist on Zubiri’s philosophy, which first analyzes reality as a dynamically structured epigenetic system tracing its emergence from material through organic to historical reality (open to transcendence), and second, which postulates the concept of sentient intelligence through which we are able to apprehend reality as reality. Upon returning to El Salvador in 1967, Ellacuría used Zubiri’s philosophical system to develop a powerful analysis of Latin America’s complicated historical reality during the 1960’s, 70’s, and 80’s. Ellacuría’s extraordinary output touched many different fields: philosophy, theology, political analysis, and his role as President of the UCA (Universidad Centroamericana José Simeón Cañas) in defense of the poor, and as peacemaker during the Civil War in El Salvador (1980-1991). He was assassinated with five other Jesuits and two women housekeepers by Salvadoran soldiers on November 16th 1989.
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Bouchet, Odile. "Le nouveau cinéma latino-américain 1960-1974, Ignacio Del Valle Dávila." Cinémas d’Amérique latine, no. 24 (October 1, 2016): 187. http://dx.doi.org/10.4000/cinelatino.3492.
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Bouchet, Odile. "Le nouveau cinéma latino-américain 1960-1974, Ignacio Del Valle Dávila." Cinémas d’Amérique latine, no. 24 (October 1, 2016): 187. http://dx.doi.org/10.4000/cinelatino.3497.
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Amiot-Guillouet, Julie. "Ignacio Del Valle Dávila, Le nouveau cinéma latino-américain, 1960-1974." Cahiers des Amériques latines, no. 87 (September 1, 2018): 211–13. http://dx.doi.org/10.4000/cal.8706.
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Rubio-Alfaro, L. "Síndrome de Gorlin-Goltz." Lux Médica 5, no. 14 (January 31, 2010): 33–39. http://dx.doi.org/10.33064/14lm20101673.
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El síndrome de Gorlin-Goltz en un desorden autosómico dominante, caracterizado por una predisposición cancerígena y múltiples defectos de la piel, sistema nervioso, ojos, glándulas endocrinas y huesos con expresión variable. Fue reportado por primera vez en 1894 por Jarish y White, y descrito posteriormente entre 1950 y 1960 por Gorlin y Goltz. Los pacientes tienen propensión a desarrollar carcinomas basocelulares de la piel, múltiples queratoquistes en los maxilares, meduloblastomas y fibromas ováricos. También se le conoce como síndrome de cacinoma nevo basocelular, Síndrome de carcinoma nevoide de células basales, polioncosis - cutáneo - mandibular hereditaria o quinta facomatosis. Se presenta el reporte de un caso clínico atendido en la ciudad de San Luis Potosí en el Hospital Central Dr. Ignacio Morones Prieto.
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Elorduy, Eleuterio. "Propiedad y pobreza colectiva en san Ignacio y Suárez." Archivo Teológico Granadino, no. 80 (March 1, 2017): 9–53. http://dx.doi.org/10.47035/atg.2017.80.3495.
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El estudio, escrito en los primeros años 1960 e inédito hasta hoy, trata sobre la pobreza y la propiedad en la tradición jesuita. Tras una breve introducción filosófico-social y una aproximación histórico-jurídica a la cuestión de la pobreza colectiva en la Iglesia, a continuación se trata de la cuestión de los bienes eclesiásticos y exponer de la pobreza en la Compañía de Jesús, para en apartados sucesivos el pensamiento de san Ignacio y el de Francisco Suárez sobre la pobreza colectiva. Unas breves conclusiones, referidas a los primeros apartados no específicamente jesuitas, cierran el estudio. A partir de la espiritualidad y del pensamiento de san Ignacio, recogido en las Constituciones de la Compañía de Jesús y en algunas actuaciones suyas, y de la posición doctrinal de Francisco Suárez con ocasión de la fundación real del colegio jesuita de Salamanca, así como ante la tercera congregación general jesuita en 1608, el autor concluye que tanto uno como otro concebían la pobreza, y en relación con ella la propiedad, de acuerdo con la doctrina común de la Iglesia de entonces, aunque superando la tensión entre institucionalistas y funcionalistas. Para ambos, la pobreza de la Compañía de Jesús es la propia de una institución carismática en la que los bienes son concebidos sólo como instrumentos de Dios. A ese fin –el de ser meros instrumentos divinos–tienden tanto la espiritualidad ignaciana como el pensamiento suareciano.
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Żakiewicz, Anna. "IRENA JAKIMOWICZ: AN IDEAL MUSEOLOGIST." Muzealnictwo 61 (June 26, 2020): 110–16. http://dx.doi.org/10.5604/01.3001.0014.2491.
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Having studied history of art on clandestine Warsaw University courses run in 1943–1944, Irena Jakimowicz (1922–1999) graduated in 1951. In 1945–1991, she worked at the National Museum in Warsaw, initially in the Educational Department, from 1953 in the Polish Graphic Arts Department, out of which in 1958 she selected works executed after 1914, turning them into the Department of Graphic Arts and Contemporary Drawings which she headed as curator. Until early 1982, the Department formed part of the Gallery of Contemporary Art, yet it subsequently gained autonomy as the Cabinet of Graphic Arts and Contemporary Drawings curated by Irena Jakimowicz. Jakimowicz mounted some dozens exhibitions, mainly monographic ones of Polish contemporary artists, e.g. Bronisław Wojciech Linke (1963), Zygmunt Waliszewski (1964), Feliks Topolski (1965), Wacław Wąsowicz (1969), Tadeusz Kulisiewicz (1971), Konstanty Brandel (1977), Henryk Gotlib (1980), Stanisław Ignacy Witkiewicz (1989/1990). All the exhibitions were accompanied by reasoned catalgoues. Furthermore, Jakimowicz authored several cross-sectional, such as ‘Within the Circle of the Rembrandt Tradition’ (1956), ‘From Young Poland to Today’ (1959), ‘Polish Contemporary Graphic Arts 1900–1960’ (1960), ‘The Formists’ (1985), ‘Five Centuries of Polish Prints’ (1997). In 1970, she defended her doctoral dissertation dedicated to the collector Tomasz Zieliński. Moreover, she authored many papers, reviews, and books, e.g. Witkacy – Chwistek – Strzemiński (1976), Witkacy Malarz [Witkacy the Painter] (1985), Jerzy Mierzejewski (1996). She was a wonderful Boss: demanding, but strict with herself, too. Attentive to her employees’ development, she could appreciate and use their abilities to their own benefit and to the benefit of their institution. Those who had the privilege and pleasure of cooperating with her, recall her with admiration saying what a likeable person she was.
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Stulczewski, Jarosław. "Bank Spółdzielczy w Szadku – zarys działalności." Biuletyn Szadkowski, no. 16 (February 9, 2016): 195–214. http://dx.doi.org/10.18778/1643-0700.16.10.
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Początki spółdzielczości bankowej, której dziś kontynuatorem jest Bank Spółdzielczy w Szadku, przypadają na rok 1906. Inicjatorem i organizatorem oraz pierwszym prezesem towarzystwa bankowego był dr Ignacy Lipiński. Do roku 1921 bank działał jako „Towarzystwo Pożyczkowo-Oszczędnościowe”, a następnie został przekształcony w „Bank Szadkowski spółdzielnia z ograniczoną odpowiedzialnością w mieście Szadku”. W październiku 1939 r. działalność banku została zawieszona z powodu trwającej okupacji niemieckiej. Reaktywowanie Banku Spółdzielczego nastąpiło w roku 1947. W 1950 r. spółdzielnia uległa przekształceniu na Gminną Kasę Spółdzielczą, a osiem lat później na Kasę Spółdzielczą. W 1961 r. przyjęła nazwę „Bank Spółdzielczy. Spółdzielnia Oszczędnościowo-Pożyczkowa”. Od maja 1962 r. do dziś instytucja działa pod nazwą „Bank Spółdzielczy w Szadku”. W roku 1975 bank został włączony w struktury Banku Gospodarki Żywnościowej. 18 lipca 1978 r. oddano do użytku nowy gmach Banku Spółdzielczego przy ul. Sieradzkiej w Szadku. Szadkowski bank w 1995 r. przystąpił do Zrzeszenia Regionalnego przy GBW S.A. w Poznaniu. Obecnie bank posiada cztery oddziały (Wodzierady, Goszczanów, Warta, Łask), jedną filię i punkt kasowy (Szadek).
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Flannery, Kent V. "Ignacio Bernal 1910-1992." American Antiquity 59, no. 1 (January 1994): 72–76. http://dx.doi.org/10.1017/s0002731600059369.
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Velázquez Martínez, Alejandro. "DR. MIGUEL CABALLERO DELOYA SEMBLANZA." Revista Mexicana de Ciencias Forestales 1, no. 1 (August 29, 2019): 135–37. http://dx.doi.org/10.29298/rmcf.v1i1.661.
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El Dr. Miguel Caballero Deloya nació en Coatzacoalcos, Veracruz, el 19 de junio de 1940. Realizó sus estudios primarios en la Cd. de Acapulco, Guerrero en la Escuela Primaria Federal “Ignacio Manuel Altamirano” de 1946 a 1952, para continuar posteriormente en la misma ciudad, sus estudios secundarios en la Escuela Secundaria Federal, entre 1952 y 1955.
Dos años después se trasladó a Chapingo, Edo. de México, en donde llevó a cabo su educación profesional (1957 – 1963) en la Escuela Nacional de Agricultura; cursó la carrera de Ingeniero Agrónomo Especialista en Bosques, de la que se tituló con la tesis “Estudio comparativo de Pinus rudis End. y Pinus hartwegii Lindl.”. Recién egresado de la licenciatura e impulsado por su interés en Genética Forestal, en 1964 se trasladó a Raleigh, Estados Unidos de América, para dedicarse a sus estudios de maestría; así, en 1966, obtuvo el grado de Master of Science en la Universidad Estatal de Carolina del Norte con la tesis: “Comparative study of two species of mexican pines (Pinus montezumae Lamb. and Pinus pseudostrobus Lindl.) based on seed and seedling characters”.
A su regreso a México, Miguel Caballero se incorporó al Instituto Nacional de Investigaciones Forestales (INIF) como investigador en el Departamento de Biosilvicultura por un corto periodo de seis meses. A partir de agosto de ese año, ocupó la Jefatura de la Oficina de Divulgación Técnica del Inventario Nacional Forestal.
Dissertations / Theses on the topic "Ignacio (1960-....)"
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FERNANDES, Arissane Dâmaso. "Ignácio Rangel [manuscrito]: história, política e tecnocracia no Brasil (1930-1960)." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/1224.
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Previous issue date: 2011-05-06Ignácio Rangel played an important role in the consolidation of so-called conditions of capitalist production in Brazil, mainly in the years 1950-1970. As economic adviser of President Getúlio Vargas (between 1952 and 1954), he participated in the elaboration of projects of Petrobras and Eletrobras, he also headed the Economics Department of the BNDES (which at the time, played the role that years later would be of the Ministry of Planning) and participated in the drafting of the Plan of Goals in government of Juscelino Kubitschek. However, he remains unknown by most historians (and academics in general). The intent of this study is precisely to rescue the historical aspect of the theory rangeliana, which, while presenting an interpretation of Brazilian reality had a specific goal: to intervene in reality through analysis that sought effective proposal of action. The central objective of this study is, thus, understand political-institutional performance and the significance of the trajectory of Ignacio Rangel to the history of Brazil.
Ignácio Rangel desempenhou um papel fundamental na consolidação das chamadas condições de produção capitalistas no Brasil, essencialmente nos anos 1950-1970. Como assessor econômico do presidente Getúlio Vargas (entre 1952 e 1954), ele participou da elaboração dos projetos da Petrobrás e da Eletrobrás, ele também chefiou o Departamento de Economia do BNDES (que, na época, desempenhava o papel que, anos depois, caberia ao Ministério do Planejamento ) e participou da elaboração do Plano de Metas, no governo de Juscelino Kubitschek. Entretanto, ele permanece desconhecido por grande parte dos historiadores (e dos acadêmicos de maneira geral). A intenção deste estudo é a de justamente resgatar o aspecto histórico da teoria rangeliana, a qual, ao apresentar uma interpretação da realidade brasileira tinha um objetivo concreto: intervir nessa realidade através de uma análise que buscava proposta efetiva de ação. O objetivo central deste estudo é, portanto, compreender a atuação político-institucional e o significado da trajetória de Ignácio Rangel para a história do Brasil.
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Rodrigues, Fabiana de Cássia 1980. "O papel da questão agraria no desenvolvimento do capitalismo nacional, entre 1950 e 1964, em Caio Prado Junior, Celso Furtado, Ignacio Rangel e autores pecebistas." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285337.
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Orientador: Plinio Soares de Arruda Sampaio JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia
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Resumo: O objetivo desse trabalho foi pesquisar o papel da questão agrária no desenvolvimento do capitalismo em bases nacionais, no período de intensificação da industrialização brasileira, entre 1951 e 1964, através do debate entre os principais intelectuais que a pensaram nesse momento histórico. Para efetuá-lo a dissertação foi dividida em dois capítulos, no primeiro realizamos uma contextualização do debate, através da discussão das linhas gerais sobre as políticas econômicas do período juntamente com os limites, relativos à questão agrária, do crescimento econômico. Foram tratados dois aspectos relevantes para compreender de que forma essa questão impunha obstáculos ao desenvolvimento nacional. O primeiro deles, diz respeito ao desequilíbrio existente nas relações estabelecidas entre capital e trabalho no processo de industrialização, que deflagravam a intensa exploração da força de trabalho rural e urbana. O segundo aspecto refere-se à forma como o campo respondia às novas demandas decorrentes da industrialização e da urbanização. Nesse item foi mostrado que o aumento da produção agrícola se dava sem alteração na estrutura fundiária, gerando um agravamento nas condições de vida dos trabalhadores rurais e deflagrando uma série de conflitos, que ganharam grande repercussão nesse período. Foram citados alguns desses conflitos, indicando as causas que os deflagraram e a forma por eles assumida. No segundo capítulo foram tratadas as idéias de Caio Prado Jr., Celso Furtado, Ignácio Rangel e Alberto Passos Guimarães sobre a questão agrária no Brasil. Em primeiro lugar, foi verificado de que forma eles interpretam a questão agrária na realidade brasileira, ou seja, o que significava a questão agrária para cada um deles. Em seguida foram discutidos, a partir da interpretação desses autores, os problemas decorrentes dessa questão, responsáveis por criar obstáculos ao desenvolvimento do capitalismo nacional. E por fim, foram analisadas as propostas de cada um deles para resolver a questão agrária. O objetivo último desse trabalho foi mostrar, através do debate dos autores, que a resolução da questão agrária nos anos da pesquisa era condição imprescindível para a constituição do capitalismo que tivesse um mínimo de conteúdo democrático e nacional
Mestrado
Historia Economica
Mestre em Ciências Econômicas
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Rafael, Laura. "The role of history in the recent Mexican novel : a study of five historical novels by Elena Garro, Carlos Fuentes, Fernando del Paso, Paco Ignacio Taibo II and Rosa Beltran." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/323.
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This thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice. From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.
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Stock, Rojas Pablo. "Identidad católica a través de la educación en Chile, 1990-2007. Colegio San Ignacio de Alonso de Ovalle." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110478.
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Fernández, Cardona Sergio. "Modelos estéticos y narrativos en la obra de Ignacio Aldecoa." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/671455.
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La presente investigación ofrece un primer acercamiento al estudio de la obra de Ignacio Aldecoa desde un enfoque comparativo con el que se pretende demostrar la relación de la narrativa aldecoana con los que consideramos algunos de sus principales modelos: Ramón del Valle-Inclán y Pío Baroja. De cada uno de ellos, y siempre utilizando su propio punto de vista personal y artístico, Ignacio Aldecoa toma aquellos elementos que le permiten, como testigo veraz y auténtico de un tiempo y un lugar durante algunos de los años más difíciles de la historia de España, plasmar en su literatura una serie de vidas humildes, injustas y vacías. En Valle-Inclán aprendió cuestiones de estilo y de técnica narrativa, además de, en algunos momentos de su obra, modelos estéticos; en Baroja, que los espacios más bajos de la sociedad podían ser los absolutos protagonistas de cualquier obra literaria, y que podía poblarse un cuento o una novela con los tipos o personajes más humildes y marginales.The present research offers a first approach to the studies of Ignacio Aldecoa’s works from a comparative perspective in which we pretend to demonstrate the connection between the Aldecoan narrative with those whom we consider to be his main models: Ramón del Valle-Inclán and Pío Baroja. From every one of them, and always using his own personal and artistic point of view, Ignacio Aldecoa takes those elements that allow him, as a truthful and genuine witness of a time and a place during some of the most difficult times of Spain’s history, to portray in his literature a series of poor, unfair and empty lives. In Valle-Inclán he learnt style and narrative technique issues, in addition to, in some moments of his works, aesthetic models; in Baroja, that the lowest places of society could become the absolute protagonists of any literary work, and that any tale or novel could be populated with the poorest and most disadvantaged types and characters.
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Mancini, Bruno. "Ignazio Silone, romancier militant : étude thématique et esthétique." Nancy 2, 2006. http://docnum.univ-lorraine.fr/prive/NANCY2/doc371/2006NAN21023_1.pdf.
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C'est vers 1930, alors qu'il est expulsé du Pcd'I (dont il a été l'un des fondateurs) et qu'il est malade de phtisie, qu'Ignazio Silone décide d'écrire son premier roman : Fontamara. Il le rédige en Suisse où il est exilé en tant qu'antifasciste, et y raconte, sous forme de témoignage direct, les mésaventures des cafoni, paysans humiliés et opprimés par le fascisme triomphant. Notre travail veut démontrer que le premier roman de l'auteur des Abruzzes n'est autre que la continuation de sa lutte, non plus par des articles politiques, trop incompréhensibles pour les gens qui savent à peine lire, mais à travers un récit qui sait très habilement mélanger les genres, tout en étant écrit dans un style simple et clair. Fontamara est pour nous un exemple très représentatif de roman engagé. Notre étude s'appuie sur une analyse thématique et stylistique et sur une comparaison avec d'autres romans engagés contemporains qui eux, ont connu une vraie fortune littéraireAround 1930, while having been expelled from the Italian Communist Party (of which he was a co-founder) and suffering from consumption, Ignazio Silone decides to write his first novel : Fontamara. Exiled in Switzerland as an Antifascist, he tells of the cafoni's misadventures, presenting like direct testimonies the stories of these humiliated and oppressed peasants, victims of triumphant Fascism. Our work aims to show that the first novel by this author from the Abruzzi is only the continuation of his fight, no more through political articles, too incomprehensible to people who can hardly read, but through an account that skillfully mixes genres, while being written in a simple and clear style. Fontamara is, to us, an example of a truly commited novel. Our study is based on an analysis set of themes and stylistics and in comparison with other contemporary commited novels, which have known a true literary success
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Romdhani, Wahiba. "Ecrire l'histoire : les textes italiens de l'historicité à la littérarité : les cas de Antonio Gramsci et Ignazio Silone." Grenoble, 2010. http://www.theses.fr/2010GRENL004.
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Holzinger, Flavie. ""Le Monde diplomatique" d'Ignacio Ramonet de 1991 à 2008 : analyse géopolitique des représentations." Paris 8, 2013. http://octaviana.fr/document/178439363#?c=0&m=0&s=0&cv=0.
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"Le Monde diplomatique" tient une place à part dans la presse française. Particulièrement critique et arrogant à son égard, il se distingue des titres de presse grand public par son engagement. Le titre dispose d’un exceptionnel réseau étranger qui n’a d’égal ni en France ni au niveau international. "Le Monde diplomatique" a pu s’imposer dans le paysage intellectuel français, son style rédactionnel se rapprochant davantage de publications scientifiques que d’un mensuel de presse. Il fonctionne avec des intellectuels reconnus, dont la parole et l’écho des idées sont importants. Paradoxalement et au-delà de son aspect intellectuel et universitaire, "Le Monde diplomatique" est un journal d’opinions. Sa rédaction est composée de journalistes engagés à gauche - voire très à gauche - de l’échiquier politique. Au cours de son histoire, le journal s’est engagé sur plusieurs fronts : pour l’unité du tiers-monde, contre l’impérialisme américain et pour l’émancipation de l’Amérique latine de l’influence américaine. Par ailleurs, "Le Monde diplomatique" est l’instigateur de plusieurs associations proches de l’altermondialisme depuis le milieu des années 1990 et l’arrivée d’Ignacio Ramonet à la tête de la publication. Il a permis de relier à l’échelle planétaire des groupes d’individu partageant la même contestation du monde. Depuis ses débuts, "Le Monde diplomatique" a pour vocation d’être tourné vers l’actualité internationale. Il entend rendre compte de la géopolitique du monde, mais au regard de l’engagement de ses rédacteurs, quelle est cette géopolitique ? Il ne semble pas qu’elle soit la démarche développée par l’Institut français de géopolitique"Le Monde diplomatique" is a special publication in the world of French press. Its commitment makes it distinctive among the general public titles, thus enabling it to be particularly critical and arrogant with regards to the rest of the press. The newspaper has exceptional international connections not equaled in France nor in other countries. "Le Monde diplomatique" has forced itself upon the French intellectual scene, its redaction style being closer to one of scientific publications rather then monthly press. It works with acknowledged intellectuals, whose words and idea resound are important. Bafflingly and beyond its intellectual and academical aspects, "Le Monde diplomatique" is a publication of opinions and views. Its editorial team gathers journalists from leftwing – even far leftwing - political sides. During its history, the paper devoted itself to several causes : to the unity of the third world, against American imperialism and to the emancipation of Latin America against American influence. Incidentally, since the middle of the 1990s and the coming of Ingnacio Ramonet at the head of the publication, "Le Monde diplomatique" is the instigator of several societies close to alterglobalism. It managed to connect, on a global level, groups of people sharing the same counter-view of the world. Ever since it’s beginning, "Le Monde diplomatique" has bent on being turned towards international events. It’s mean is to report the geopolitical state of the world, but with regards to its editors’ engagements, what is this geopolitics? It does not seem to be the approach developed by the French Institute of geopolitics
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Fiałkiewicz-Saignes, Anna. "L'oeuvre romanesque de Stanisław Ignacy Witkiewicz dans le contexte des littératures européennes (1909-1939)." Paris 4, 1997. http://www.theses.fr/1997PA040138.
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Les romans de S. I. Witkiewicz (Les 622 chutes de Bungo, L'adieu à l'automne, L'inassouvissement, L'unique issue) ont bénéficié dans le discours critique polonais d'un statut ambigu : celui d'œuvres majeures mais imparfaites, à la fois modernes et anachroniques. Ce travail entreprend de montrer que les romans de Witkiewicz sont des œuvres cohérentes, dans lesquelles une forme originale traduit une expérience particulière du monde, expérience semblable à celle qui sous-tend les œuvres des romanciers européens qui ont, à la même époque, remis en cause une conception traditionnelle de la prose narrative (Proust, Musil, Mann, V. Woolf, Joyce. . . ) et que la critique de langue anglaise rassemble sous le label de "moderniste". L'approche comparatiste permet de montrer que les romans de Witkiewicz naissent d'une appréhension semblable des premières décennies du XXème siècle, comme époque charnière, emportée par une dynamique au sens inconnu qui balaie schémas de pensée et systèmes de valeurs ; il importe alors de retrouver ailleurs la cohérence qui a définitivement déserté l'expérience vécue. Pour les héros de Witkiewicz, la philosophie pourrait constituer ce dernier retranchement de l'unité et tous cherchent à transformer leur vécu confus en enchainement rigoureux de concepts, ce qui s'avère pourtant impossible car le langage n'est pas à la hauteur de la tâche. Dès lors la voie est ouverte aux jeux avec les mots et les concepts, autant de procédés qui assurent à l'écriture de Witkiewicz son originalité et garantissent ainsi la réussite de l'entreprise romanesqueThe novels of S. I. Witkiewicz have received, in the polish critical tradition, an ambiguous status: that of major but imperfect, both modern and anachronic works. This works undertakes to show that Witkiewicz's novels are coherent works, in which an original form conveys a peculiar experience of the world, similar to the experience which underlies the works of European novelists who have, at the same time, challenged the traditional conception of narrative (Proust, Musil, Mann, V. Woolf, Joyce. . . ) and whom the English-language critics gather as "modernists". The comparatist approach makes it possible to show that Witkiewicz's novels spring from a similar apprehension of the first decades of the XXth century, seen as a turning point, carried by dynamics with a still unknown meaning, which sweep away thinking schemes and systems of values; it is then important to find elsewhere the coherence which has definitely deserted the reality. For Witkiewicz's heroes, philosophy might be that last entrenchment of unity, and all of them search for a way of turning their confused living into a rigorous chain of concepts, which is however impossible because the language is not sufficient for this task. A breach is therefore open for plays on words and concepts, which make the originality of Witkiewicz's writing and guarantee the success of his Romanesque enterprise
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Keym, Stefan. "Zur Bedeutung des Nationalen bei der deutschen Rezeption polnischer Musik von 1900 bis 1914 am Beispiel von Szymanowski und Paderewski." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21335.
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Dass 'die nationale Bedeutung oder Färbung eines musikalischen Phänomens [. . . ] zu einem nicht geringenTeil eine Sache der Auffassung und der Übereinkunft: der Rezeptionsweise'1 ist, wird an der polnischen Musikgeschichte besonders deutlich. Das außergewöhnliche politische Schicksal Polensim 19.Jahrhundert - das Verschwinden eines fast tausend Jahre alten Staates, die Aufteilung seinesTerritoriums unter drei fremden Mächten und das Andauern dieses Zustands über mehr als hundert Jahre, ausgerechnet in der Hochphase des Nationalgedankens - hatte zur Folge, dass den Künstlern bei der Wahrung der nationalen Identität eine führende Rolle geradezu aufgedrängt wurde.
Books on the topic "Ignacio (1960-....)"
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Torres, Eddy Carlos Barrera. Die Arbeiterbewegung in Kolumbien (1910-1940): Ignacio Torres Giraldo. Frankfurt: IKO, 1998.
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Gardella, Ignazio. Ignazio Gardella: Progetti e architetture 1933-1990. Venezia: Marsilio, 1992.
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W, Wysocka Małgorzata, and Wysocki Wiesław Jan, eds. Bohater spod Ossowa: Ignacy Jan Skorupka : 1893-1920. Warszawa: Rytm, 2010.
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Gadaleta, Ignazio. Ignazio Gadaleta: Irradiazioni 1985-1990 : [mostra], Galleria comunale d'arte contemporanea, Arezzo ... 10 giugno-29 luglio 1990. Milano: Mazzotta, 1990.
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Germain, Fortin, ed. Cap-Saint-Ignace: Vingt-cinq ans d'histoire, 1970-1995. Cap-Saint-Ignace, Québec: La Plume d'oie, 1997.
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Młodość chłopczyka: O wczesnej twórczości Stanisława Ignacego Witkiewicza 1900-1914. Gdańsk: Wydawnictwo Słowo/Obraz Terytoria, 2014.
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Aballí, Ignasi. Ignasi Aballí: [Centre d'Art Santa Mònica, Barcelona, setembre-octubre 1990]. [Barcelona]: Generalitat de Catalunya, Departament de Cultura, 1990.
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Jaime, Oliver Jaume, ed. Joan Ignasi Valentí i Marroig: Psiquiatria i educació a Mallorca (1900-1936). Palma: Universitat de les Illes Balears, 1991.
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Stola, Dariusz. Nadzieja i zagłada: Ignacy Schwarzbart, żydowski przedstawiciel w Radzie Narodowej RP (1940-1945). Warszawa: Oficyna Nauk., 1995.
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LaSalle-Beauséjour, Jeannine. Répertoire des mariages, St-Michel-des-Saints, 1867-1985 et St-Guillaume-Nord, 1916-1927, St-Zénon, 1886-1986, St-Ignace-du-Lac, 1906-1930--. [Québec (Province): s.n., 1986.
Find full textBook chapters on the topic "Ignacio (1960-....)"
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Six, Abigail Lee. "Juan Ignacio Carrasco, Entre nosotros [Amongst Us] (2010)." In Spanish Vampire Fiction since 1900, 114–18. New York, NY: Routledge, 2019. | Series: Routledge studies in comparative literature: Routledge, 2019. http://dx.doi.org/10.4324/9780203730683-20.
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"Ignacio Ellacuría (1930–89)." In The Challenge of History, 231–34. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvp2n4cv.42.
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"Bernal Garcia, Ignacio (1910–1992)." In Encyclopedic Dictionary of Archaeology, 159. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_20319.
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"OCTAVIO IGNACIO ROMANO-V. (1923-)." In Literatura chicana, 1965-1995, 79–93. Routledge, 1997. http://dx.doi.org/10.4324/9781315805412-7.
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Taber, Douglass F. "Organocatalyzed C–C Ring Construction: The Mihovilovic Synthesis of Piperenol B." In Organic Synthesis. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190646165.003.0072.
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M. Kevin Brown of Indiana University prepared (J. Am. Chem. Soc. 2015, 137, 3482) the cyclobutane 3 by the organocatalyzed addition of 2 to the alkene 1. Karl Anker Jørgensen of Aarhus University assembled (J. Am. Chem. Soc. 2015, 137, 1685) the complex cyclobutane 7 by the addition of 5 to the acceptor 4, followed by condensation with the phosphorane 6. Zhi Li of the National University of Singapore balanced (ACS Catal. 2015, 5, 51) three enzymes to effect enantioselective opening of the epoxide 8 followed by air oxidation to 9. Gang Zhao of the Shanghai Institute of Organic Chemistry and Zhong Li of the East China University of Science and Technology added (Org. Lett. 2015, 17, 688) 10 to 11 to give 12 in high ee. Akkattu T. Biju of the National Chemical Laboratory combined (Chem. Commun. 2015, 51, 9559) 13 with 14 to give the β-lactone 15. Paul Ha-Yeon Cheong of Oregon State University and Karl A. Scheidt of Northwestern University reported (Chem. Commun. 2015, 51, 2690) related results. Dieter Enders of RWTH Aachen University constructed (Chem. Eur. J. 2015, 21, 1004) the complex cyclopentane 20 by the controlled combination of 16, 17, and 18, followed by addition of the phosphorane 19. Derek R. Boyd and Paul J. Stevenson of Queen’s University Belfast showed (J. Org. Chem. 2015, 80, 3429) that the product from the microbial oxidation of 21 could be protected as the acetonide 22. Ignacio Carrera of the Universidad de la República described (Org. Lett. 2015, 17, 684) the related oxidation of benzyl azide (not illustrated). Manfred T. Reetz of the Max-Planck-Institut für Kohlenforschung and the Philipps-Universität Marburg found (Angew. Chem. Int. Ed. 2014, 53, 8659) that cytochrome P450 could oxidize the cyclohexane 23 to the cyclohexanol 24. F. Dean Toste of the University of California, Berkeley aminated (J. Am. Chem. Soc. 2015, 137, 3205) the ketone 25 with 26 to give 27. Benjamin List, also of the Max-Planck-Institut für Kohlenforschung, reported (Synlett 2015, 26, 1413) a parallel investigation. Philip Kraft of Givaudan Schweiz AG and Professor List added (Angew. Chem. Int. Ed. 2015, 54, 1960) 28 to 29 to give 30 in high ee.
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Feinman, Gary M. "A Diachronic Perspective on the Prehispanic Ceramic Tradition of the Valley of Oaxaca." In Ceramics of Ancient America, 302–34. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056067.003.0011.
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For the prehispanic Valley of Oaxaca (Mexico), including Monte Albán and other sites, the 1967 volume by Alfonso Caso, Ignacio Bernal, and Jorge Acosta has long served as the key guide and reference for ceramic typology and chronology. Although this classic archaeological tome remains the essential source, nevertheless five decades of fieldwork and analysis has led to important temporal expansions in the pottery record as well as refinements, new observations on pottery production, and the extension of relevant research issues, which all enhance the original schema of Caso and his colleagues. This chapter synthesizes and cites many of these new ceramic developments as a basis to take stock of what we have learned during the intervening years and to establish a foundation to investigate shifts in the region’s ceramic complex over three prehispanic millennia.
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Skinner, Lee. "Constructions of Domesticity." In Gender and the Rhetoric of Modernity in Spanish America, 1850-1910. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062846.003.0003.
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The chapter argues that discourses of domesticity were connected to modernizing ideals, resistance to social change, and conflicts over gender and family roles, and these meanings often existed simultaneously and even within the same text or cultural product. Nineteenth-century men and women created images of domestic life to present arguments about the many issues to which they related domesticity and to promote ideas about the potential or actual roles for women in society at large. By claiming continuity between the home and the nation, authors of domestic narratives made the case for the importance of women’s role in constructing and maintaining the nation. The division between private and public space gave rise to domestic discourse and the theme of the angel in the house but because that division was rhetorical, many writers envisioned a connectedness between the two realms that allowed for the possibility of women’s seamless movement from the domestic to the public realm. Magazines from Mexico and El Salvador are analysed along with Ignacio Altamirano’s El Zarco, Soledad Acosta de Samper’s novels Laura and Una holandesa en América, and short stories and Cocina ecléctica by Juana Manuela Gorriti.
Conference papers on the topic "Ignacio (1960-....)"
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Cova, Massimo. "Arte contemporáneo y señales visuales de la cotidianidad como paradigma de modelos globales de vida y de pensamiento." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4834.
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Nuestra propuesta consiste en presentar un proyecto artístico personal y su vinculación con obras de reconocidos artistas contemporáneos que adoptan, como referentes formales y conceptuales, unas señales visuales espontáneas presentes en los entornos cotidianos. Rastros efímeros y transitorios generados por los comportamientos y por las interacciones de las personas, que pueden ser representativos de modelos de vida y de pensamiento en la era de la globalidad. Las obras propuestas (tanto las personales como las de referencia) formalizan y reconfiguran, en el lenguaje propio del arte, unas huellas y unos indicios visuales que no pertenecen al territorio artístico. Marcas, restos o vestigios relacionados con aspectos de las complejas consecuencias de la internacionalización económica y cultural así como del desarrollo y de la expansión de las nuevas tecnologías o de modelos de comportamiento como fundamento de identidades individuales y colectivas. Esta propuesta deriva de la investigación teórico-práctica realizada para nuestra tesis doctoral, titulada Señales visuales y creación artística: cotidianidad y referentes. 1990-2015. Series personales: Space junk, la conquista del espacio… y sus residuos; Earth attack, humos y otros contaminantes de destrucción planetaria; Don’t touch!, imperativo moral y ético muy omitido; Cosmogonías ácidas, algunos segundos de lluvia (ácida); Scrapes & scratches, recuerdos de acciones y de gestos que dejan huella; (Re)Pulsiones, instintos, rechazos e incompatibilidades; Desplazamientos transitorios, presencias a través de las ausencias; El futuro ya ha pasado, vestigios de un futuro post-tecnológico como espejo de nuestro presente; Alter ludus, paradigmas de comportamientos adolescentes y metáforas de dinámicas adultas; En directo, rastros de contenidos vacíos y de imperfecciones tecnológicas; The martian man / Tribu, inquietantes mutaciones futuras de controvertidos modelos actuales. Artistas de referencia: Ignasi Aballí, Kader Attia, John Beech, Walead Beshty, Dan Colen, Reuben Cox, Igor Eskinja, Patrícia Gómez y María Jesús González, Wade Guyton, Mariko Mori, Laurel Nakadate, Matt O'Dell, Roman Ondák, Jorge Otero-Pailos, Steven Parrino, Thomas Ruff, Taryn Simon, Rudolf Stingel, Stefan Sandner, Penélope Umbrico. http://massimocova.com/nova-obra/ http://dx.doi.org/10.4995/ANIAV.2017.4834