Relevant bibliographies by topics / Medieva Mosaics

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

Academic literature on the topic 'Medieva Mosaics'

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

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Journal articles on the topic "Medieva Mosaics"

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Cantone, Valentina, Rita Deiana, Alberta Silvestri, and Ivana Angelini. "Obsidian and Obsidian-like Glass Tesserae: A Multidisciplinary Approach to Study the Dedication Wall Mosaic in the Church of St. Mary of the Admiral in Palermo (12th Century)." Open Archaeology 6, no. 1 (December 31, 2020): 403–16. http://dx.doi.org/10.1515/opar-2020-0116.

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AbstractPliny the Elder testifies that roman workshops used volcanic glass (obsidian), but also produced and used a dark glass (obsidian-like glass) quite similar to the natural one. In the context of the study on medieval mosaics, the use of the obsidian and obsidian-like tesserae is a challenging research topic. In this paper, we present the results of a multidisciplinary study carried out on the Dedication wall mosaic, realized by a byzantine workshop in the 12th century in the Church of St. Mary of the Admiral in Palermo, and where numerous black-appearing tesserae, supposed to be composed of obsidian by naked-eyes observation, are present. Historical documents, multispectral imaging of the wall mosaic, and some analytical methods (SEM-EDS and XRPD) applied to a sample of black tesserae, concur in identifying here the presence of obsidian and different obsidian-like glass tesserae. This evidence, although related to the apparent tampering and restoration, could open a new scenario in the use of obsidian and obsidian-like glass tesserae during the Byzantine period in Sicily and in the reconstruction of multiple restoration phases carried out between 12th and 20th century AD on the mosaics of St. Mary of the Admiral.
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Cantone, Valentina, Rita Deiana, Alberta Silvestri, and Ivana Angelini. "Obsidian and Obsidian-like Glass Tesserae: A Multidisciplinary Approach to Study the Dedication Wall Mosaic in the Church of St. Mary of the Admiral in Palermo (12th Century)." Open Archaeology 6, no. 1 (December 31, 2020): 403–16. http://dx.doi.org/10.1515/opar-2020-0116.

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AbstractPliny the Elder testifies that roman workshops used volcanic glass (obsidian), but also produced and used a dark glass (obsidian-like glass) quite similar to the natural one. In the context of the study on medieval mosaics, the use of the obsidian and obsidian-like tesserae is a challenging research topic. In this paper, we present the results of a multidisciplinary study carried out on the Dedication wall mosaic, realized by a byzantine workshop in the 12th century in the Church of St. Mary of the Admiral in Palermo, and where numerous black-appearing tesserae, supposed to be composed of obsidian by naked-eyes observation, are present. Historical documents, multispectral imaging of the wall mosaic, and some analytical methods (SEM-EDS and XRPD) applied to a sample of black tesserae, concur in identifying here the presence of obsidian and different obsidian-like glass tesserae. This evidence, although related to the apparent tampering and restoration, could open a new scenario in the use of obsidian and obsidian-like glass tesserae during the Byzantine period in Sicily and in the reconstruction of multiple restoration phases carried out between 12th and 20th century AD on the mosaics of St. Mary of the Admiral.
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Fatigati, Michael. "A Method for Reconstructing the Medieval Arabic Scientific Mosaic." Scientonomy: Journal for the Science of Science 1 (January 27, 2017): 19–28. http://dx.doi.org/10.33137/js.v1i0.27761.

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There are good reasons to think that there was a body of truths generally accepted by the scientific community under Abbasid rule during the middle ages. However, the indicators initially established by the scientonomy community to guide us in reconstructing past mosaics are not applicable in the case of the medieval Arabic scientific mosaic. Instead, by attending to the particular way that knowledge was disseminated in this community, we can see the primacy of the concepts passed down in authoritative texts. It is proposed here that a good way of determining which texts, and therefore theories, were accepted would be by tracking the unique record of licenses to teach [ʾijāzāt] particular texts that exist from this period.Suggested Modifications[Sciento-2017-0003]: Accept the following propositions concerning MASM in c. 750-1258 CE in the Abbasid caliphate:Authoritative texts are indicative of theories accepted in MASM.Licenses to teach [ʾijāzāt] are reliable indicators of which texts were considered authoritative in MASM.Accept that the following method ought to be employed when reconstructing the theories accepted in MASM:Teaching License Method: A proposition can be said to be accepted in MASM if the evidence of the licenses to teach [ʾijāzāt] indicates so.
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Harding, Catherine. "The Production of Medieval Mosaics: The Orvieto Evidence." Dumbarton Oaks Papers 43 (1989): 73. http://dx.doi.org/10.2307/1291605.

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Luo, Manling. "Remembering Kaiyuan and Tianbao: The Construction of Mosaic Memory in Medieval Historical Miscellanies." T'oung Pao 97, no. 4-5 (2011): 263–300. http://dx.doi.org/10.1163/156853211x604134.

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AbstractMedieval historical miscellanies have traditionally been seen as repositories of random historical information. This essay examines how the miscellany form makes possible a distinct mode of cultural memory construction, the piecing together of anecdotes gathered from oral and written sources to create a composite, multifaceted picture of the past, or "mosaic memory." Using as examples four monothematic post-An Lushan rebellion collections devoted to the memory of the Kaiyuan-Tianbao era (713-756), we may see how compilers created idiosyncratic versions of mosaic memory as a result of their personal motives and cultural positions. These individual versions also overlay and constitute a cumulative representation that reveals important features of mosaic memory as a communal discourse. The layered formation of mosaic memory helps to shed light on how the cultural memory of the Kaiyuan-Tianbao era took shape in the mid- and late-Tang periods and how medieval historical miscellanies functioned as an important site of cultural production.
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Algaze, Ariela. "The artistic program of the Baptistery of San Giovanni in Dante’s liturgical imagination." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 18, 2021): 399–427. http://dx.doi.org/10.1177/00145858211022577.

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This paper 1 re-examines the relationship between Dante’s Commedia and the Baptistery of San Giovanni from an art historical perspective. Drawing on –– and then departing from –– earlier work by Dante scholars who described figurative echoes between the Commedia and the Baptistery’s mosaic program, this article reconceptualizes the relationship between the two as not only figurative, but also liturgical. Using the texts of two extant medieval Florentine libri ordinales to reconstruct the liturgy of Holy Saturday, I document the ways in which the decorative mosaic imagery of the Baptistery is reflected in and reinforced by the multisensory performance of the baptismal rite. I argue further that Dante ekphrastically reimagines this rite in cantos 1–2 and 29–33 of Purgatorio. By exploring Dante’s liturgical imagination vis-à-vis the multivalent space of the Baptistery, this paper articulates and illuminates the profound interconnections that can exist between medieval art, architecture, liturgy, and poetry.
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Rocha, Larissa Rayane Mendes, Juliana Nunes Santos, Romana Francthesk Mendes da Cunha, and Rosane Luzia De Souza Morais. "EFEITOS DE UMA INTERVENÇÃO BASEADA EM BRINCADEIRAS NO DESENVOLVIMENTO DE CRIANÇAS NA PRIMEIRA INFÂNCIA EM RISCO PSICOSSOCIAL." e-Mosaicos 9, no. 22 (October 28, 2020): 120–37. http://dx.doi.org/10.12957/e-mosaicos.2020.47498.

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Viver continuamente em condições de desvantagem econômica pode impactar negativamente no desenvolvimento infantil. O objetivo deste estudo foi verificar se a introdução de uma rotina diária de brincadeiras influenciaria no desenvolvimento global de crianças em risco psicossocial frequentadoras de uma creche filantrópica. Participaram do estudo 17 crianças com mediana de idade de 17 meses. Procurou-se introduzir uma metodologia exequível dentro da realidade da creche, uma educadora para mais de 20 crianças com tempo disponível para o cuidado de higiene e alimentação. A intervenção ocorreu por 20 semanas, duas vezes/dia, durante 15 minutos. Foram ofertados brinquedos iguais para todas as crianças, que brincavam mediados pela educadora quando possível. Para avaliar o desenvolvimento foi utilizado o Denver II e para avaliar a qualidade do ambiente de casa e da creche, respectivamente, Recursos do Ambiente Familiar e Infant/Toddler Environment Rating Scale-Revised Edition. Os resultados evidenciaram uma melhora nos domínios da Linguagem e do Pessoal-Social.
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Galli, A., M. Martini, C. Montanari, and E. Sibilia. "Thermally and optically stimulated luminescence of early medieval blue-green glass mosaics." Radiation Measurements 38, no. 4-6 (August 2004): 799–803. http://dx.doi.org/10.1016/j.radmeas.2004.03.016.

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Andreescu-Treadgold, Irina. "Medieval Mosaics: Light, Color, Materials. Eve Borsook , Fiorella Gioffredi Superbi , Giovanni Pagliarulo." Speculum 78, no. 3 (July 2003): 840–41. http://dx.doi.org/10.1017/s0038713400131598.

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Zitová, Barbara, Jan Flusser, and Filip Šroubek. "An application of image processing in the medieval mosaic conservation." Pattern Analysis and Applications 7, no. 1 (February 24, 2004): 18–25. http://dx.doi.org/10.1007/s10044-003-0200-3.

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Dissertations / Theses on the topic "Medieva Mosaics"

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Silva, Cássia de Castro. "Tramas em movimento: desenhos e pinturas inspirados nos mosaicos geométricos medievais." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-13092016-102451/.

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Este trabalho consiste numa pesquisa pictórica a partir de uma experiência de contemplação de mosaicos geométricos islâmicos medievais. A pesquisa busca fazer um percurso desde o estudo pictórico da urdidura dos mosaicos, mostrando a natureza de seu ritmo e seu movimento até a elaboração e apresentação de um corpo de trabalhos em desenho e pintura que se apropriam deste movimento \"encapsulado\" nos mosaicos, revelando-os.
This work consists in a pictorical research based on the contemplation of Islamic Medieval Geometric Mosaics. The research comprehends the trajectory from the study of Mosaics\' warp, in which are shown their rithm and movement, towards the preparation and presentation of a corpus of works in design and painting that reveals the countless possibilities of moves \"encapsulated\" in the Mosaics.
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BERETTA, MANUELA. "IL MOSAICO ABSIDALE DELLA BASILICA DI SANT'AMBROGIO IN MILANO. STORIA DEI RESTAURI E NUOVE IPOTESI INTERPRETATIVE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/18748.

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Il mosaico che ancora campeggia nel catino absidale della basilica di Sant’Ambrogio a Milano è una delle opere cittadine maggiormente cariche di suggestione e allo stesso tempo più difficoltose da ricostruire e restituire ad una corretta interpretazione storico-artistica. La frammentarietà delle fonti edite e soprattutto la complessa stratificazione del mosaico, hanno infatti reso indispensabile un approccio filologico all’opera. Si è quindi compiuta una raccolta critica e sistematica di tutti i dati e le fonti esistenti: dalle testimonianze medievali, ai più recenti interventi, dalla letteratura erudita alle visite pastorali, dalla guidistica alle testimonianze iconografiche, dalla documentazione archivistica alle relazioni di restauro. La creazione di una sorta di atlante ragionato del mosaico e della sua storia conservativa è apparso fin da subito un obiettivo imprescindibile per un approccio scientifico, e anche un prezioso strumento, ad oggi mancante, fondamentale per futuri approfondimenti. I dati raccolti, corposi e spesso inediti, hanno permesso una lettura puntuale del tessuto musivo, individuando le parti antiche e quelle interessate da rifacimenti successivi. I dati emersi, soprattutto di natura tecnica, sono stati fondamentali per rileggere le ipotesi attributive proposte in passato e per impostare una nuova discussione sulla organizzazione degli ateliers attivi nel cantiere, sulle questioni stilistiche e iconografiche.
The mosaic that still stands in the apse of the basilica of Sant’Ambrogio in Milan one of the most important works of the city and at the same time more difficult to reconstruct into a correct historical and artistic interpretation. The fragmentary nature of published sources and especially the complex layers of the mosaic, have made indispensable a philological approach to the work. Therefore, a critical and systematic collection of all data and existing sources has been made: first medieval testimony, scholarly literature, pastoral visits, historic tourist guides, iconographic and archival documents, restoration reports. Creating a sort of reasoned atlas of the mosaic and its conservation history appeared immediately as a vital purpose for a scientific approach, and also a valuable tool, currently lacking, of prime importance for future researches. The considerable collected data, often unpublished, have allowed an accurate reading of the mosaic, identifying the ancient parts and those affected by successive restorations. The resulting data, mainly of a technical nature, have been key to revise the past attributive hypotheses and to set a new discussion on the organization of active ateliers in the site and on the stylistic and iconographic issues.
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Souza, Mariana Pincinato Quadros de. "Uma imagem entre dois mundos: um estudo sobre o mosaico do Juízo Final de Torcello (Veneza - século XI)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-08052017-120244/.

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A Basílica de Santa Maria Assunta, localizada em Torcello, uma das ilhas que compõem a Laguna de Veneza, abriga um programa iconográfico de três painéis em mosaico, caracterizados como bizantinos. Em um deles, na contrafachada, está figurado o painel do Juízo Final, nosso objeto de estudo. Produzido na segunda metade do século XI, ele inaugura (juntamente com o afresco de SantAngelo in Formis, na cidade de Cápua) a tradição de representação monumental desse tema iconográfico na Itália, aproximando-se do chamado modelo bizantino clássico, encontrado em Constantinopla a partir do século XI. Há, porém, algumas diferenças em relação aos exemplares conhecidos desse modelo bizantino, como o suporte e a localização em uma contrafachada de uma igreja. Assim, nossa preocupação nesta dissertação foi dupla: por um lado, analisar tais diferenças e, por outro, discutir o que levou à escolha deste tema ainda pouquíssimo comum para ornamentar uma igreja, buscando entender seus modos de funcionamento e as funções que desempenhava, tanto na igreja e em seu programa iconográfico quanto na própria sociedade veneziana da época de sua confecção.
The Basilica of Santa Maria Assunta, located in Torcello, one of the islands in the Venetian Lagoon, houses an iconographic program of three mosaic panels, characterized as Byzantine. In one of them, on the counter-façade, is figured the panel of the Last Judgment, our object of study. Produced on the second half of the eleventh century, it inaugurates (together with the fresco of Sant\'Angelo in Formis, in the city of Capua) the tradition of monumental representation of this iconographic theme in Italy, approaching the so-called \"classical Byzantine model\", found in Constantinople from the 11th century. There are, however, some differences from the known examples of this Byzantine model, such as the support and the location on a churchs counter-façade. Thus, our concern in this dissertation was twofold: on the one hand, to analyze such differences and, on the other hand, to discuss what led to the choice of this very uncommon subject to decorate a church, trying to understand its modes of functioning and the functions it performed, both in the church and in its iconographic program, as well as in Venetian society itself at the time of its confection.
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Bonfim, Kenny. "Resistência ao bean golden mosaic virus mediada por RNA interferente em plantas de feijoeiro (phaseolus vulgaris)." reponame:Repositório Institucional da UnB, 2007. http://repositorio.unb.br/handle/10482/1640.

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Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Biológicas, Departamento de Biologia Celular, 2007.
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A produção mundial de feijão, compreendendo os gêneros Phaseolus e Vigna, é superior a 18 milhões de toneladas e o Brasil ocupa o segundo lugar na produção mundial e o primeiro quando se trata apenas do gênero Phaseolus. Entretanto, sua produção ainda está aquém do necessário para suprir a demanda interna. Dentre os principais problemas relacionados com a baixa produção de feijão no Brasil estão a competição com plantas daninhas, estresse hídrico e o ataque de pragas e doenças como mosaico dourado do feijoeiro causado por um geminivírus. O Bean golden mosaic virus (BGMV), é transmitido por mosca-branca (Bemicia tabaci) de uma forma persistente, circulativa, causando mosaico dourado em feijão comum (Phaseolus vulgaris). Os sintomas característicos são: mosaico verde amarelado nas folhas, nanismo e vagens distorcidas. A doença é largamente disseminada nas regiões de produção de feijão no Brasil e América Latina causando perdas severas (40 -100%). Neste trabalho, a tecnologia de RNA interferente foi explorada usando uma seqüência do gene viral AC1 para gerar plantas transgênicas de feijão comum altamente resistentes a geminivírus. Desta maneira o gene viral (AC1) foi escolhido para a construção do vetor de transformação uma vez que a proteína Rep exerce uma função essencial no ciclo de infecção viral. Rep não é uma replicase porém é a única proteína requerida para a replicação do genoma viral. O vetor pBGMVRNAiAHAS foi construído a partir de um fragmento de DNA de 411 pb do gene AC1 do BGMV (_1836-2247, acesso no GeneBank No. M88686). Dezoito linhagens de feijão foram obtidas com a construção de interferência, as quais poderão induzir o silenciamento pós-transcricional do gene AC1. Uma linhagem (denominada 5.1) apresentou alta resistência (aproximadamente 93% das plantas não apresentaram sintomas) após alta pressão de inoculação (mais de 300 moscas-brancas virulíferas por planta). Os siRNAs específicos foram detectados nas plantas transgênicas, ambas inoculadas e não inoculadas. Uma análise de PCR semiquantitativo revelou a presença do DNA viral nas plantas transgênicas expostas a moscas-brancas virulíferas por um período de 6 dias. Entretanto, após a retirada dos insetos, não foi detectado DNA viral após um período adicional de seis dias. Devido à importância social e econômica do feijão na América Latina e à falta de genes para resistência a doenças nos bancos de germoplasma, faz-se necessário o desenvolvimento de um programa de melhoramento associado à engenharia genética para o lançamento de novas variedades, que possibilitará a diminuição dos principais problemas relacionados a esta cultura. ____________________________________________________________________________________ ABSTRACT
Production of beans, including the genus Phaseolus and Vigna, is superior to 18 million tons. Brazil is the secondlargest producer of both species genus and the major world producer of Phaseolus. However, its production is still below the necessary to supply the internal demand. Competition with weeds, abiotic stress and the occurrence of diseases as bean golden mosaic are some of the main problems related to its low production. Bean golden mosaic virus (BGMV), is transmitted by the whitefly Bemisia tabaci in a persistent, circulative manner, and causes the golden mosaic of common bean (Phaseolus vulgaris) which characteristic symptoms are yellow-green mosaic of leaves, stunting, and fruit distortion. The disease is the largest constraint on bean production in Brazil and Latin America and causes severe yield losses (40 to 100%). Here we explored the RNAi concept to silence the AC1 viral gene and generate high resistant transgenic common bean plants. Since the Rep protein performs an essential function in the viral infecting cycle, the AC1 gene was chosen to construct the transformation vector. Rep is not the replicase, but the only protein required for the replication of the viral genome. The vector pBGMVRNAiAHAS was constructed using the 411 bp fragment from the AC1 gene (_1836-2247, GeneBank accession No. M88686). Eighteen transgenic common bean lines were obtained with the construction to induce post-transcriptional gene silencing against AC1 gene. One line (named 5.1) presented high resistance (approximately 93% of plants free of symptoms) upon inoculation at high pressure (more than 300 viruliferous whiteflies per plant). Transgene-specific siRNA were detected in both inoculated and noninoculated transgenic plants. A semi-quantitative PCR analysis revealed the presence of virus DNA in transgenic plants exposed to viruliferous whiteflies for a period of six days. However, when insects were removed, no virus DNA could be detected after an additional period of six days. Due to its social and economical importance in Latin America and to the lack of genes for resistence, it is necessary to develop an improving program associated to genetic engineering in order to generate new varieties. It Shall allow the decreasing to the production of beans
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McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16558/.

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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
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Gutierrez, Rolando J. "Pieces of a Mosaic: Revised Identities of the Almoravid Dynasty and Almohad Caliphate and al-Bayan al-mugrib." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/844.

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This study seeks to clarify the identities of the Almoravid and Almohad Berber movements in the larger Crusade narrative. The two North African Islamic groups are often carelessly placed within the group identified as “Islam” in discussions about the series of military campaigns that took place not only in the traditional Holy Land but also throughout regions of the Mediterranean such as Spain; this generalized identifier of “Islam” is placed against a much more complex group of generally Christian parties, all of them seen as separate, unique groups under the umbrella identifier of Christianity. This foray into a late 13thcentury North African Arabic history of the two groups will attempt to build a more robust identity for the two groups. The way in which they were remembered by their immediate successors will reveal far more interesting parties than simply zealous Muslims waging jihad. Their presence in the region is primarily remembered by their military involvement with Christian forces in the region, though the history of Muhammad ibn Idhari, written around 1295, reveals the groups and their ideologies to be far more complicated than simply meets the eye.
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Sotira, Letizia <1978&gt. "Ravenna e i piu' significativi centri dell'Impero. Il mosaico parietale tra V e VI secolo: Revisione critica." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6691/.

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Tra il V ed il VI secolo, la città di Ravenna, per tre volte capitale, emerge fra i più significativi centri dell’impero, fungendo da cerniera tra Oriente e Occidente, soprattutto grazie ai mosaici parietali degli edifici di culto, perfettamente inseriti in una koinè culturale e artistica che ha come comune denominatore il Mar Mediterraneo, nel contesto di parallele vicende storiche e politiche. Rispetto ai ben noti e splendidi mosaici ravennati, che insieme costituiscono senza dubbio un unicum nel panorama artistico dell’età tardoantica e altomedievale, nelle decorazioni musive parietali dei coevi edifici di culto dei diversi centri dell’impero d’Occidente e d’Oriente, e in particolare in quelli localizzati nelle aree costiere, si possono cogliere divergenze, ma anche simmetrie dal punto di vista iconografico, iconologico e stilistico. Sulla base della letteratura scientifica e attraverso un poliedrico esame delle superfici musive parietali, basato su una metodologia interdisciplinare, si è cercato di chiarire l’articolato quadro di relazioni culturali, ideologiche ed artistiche che hanno interessato e interessano tuttora Ravenna e i vari centri della tarda antichità, insistendo sulla pluralità, sulla complessità e sulla confluenza di diverse esperienze artistiche sui mosaici di Ravenna. A tale scopo, i dati archeologici e artistici sono stati integrati con quelli storici, agiografici ed epigrafici, con opportuni collegamenti all’architettura, alla scultura, alle arti decorative e alle miniature, a testimonianza dell’unità di intenti di differenti media artistici, orientati, pur nella diversità, verso le medesime finalità dogmatiche, politiche e celebrative. Si tratta dunque di uno studio di revisione e di sintesi sui mosaici parietali mediterranei di V e VI secolo, allo scopo di aggiungere un nuovo tassello alla già pur vasta letteratura dedicata all’argomento.
Between the Vth and VIth century, Ravenna, three times capital city, stands out among the most important centers of the Empire: it’s a bridge between East and West, especially thanks to the wall mosaics of the places of worship, since mosaic art in Ravenna fits perfectly into a cultural and artistic koinè that has the Mediterranean Sea as a common denominator in a similar context of parallel historical and political events. These beautiful and well known mosaics of the Adriatic city, which really look unique in the artistic panorama of the Late Antiquity and the early Middle Ages, can offer an interesting comparison with the contemporary parietal decorations in the various centers of the West and the East, and in particular those located in the coastal areas. It’s possible therefore to see differences, and also similarities from the point of view of the iconography, iconology and style. On the basis of the scientific literature and through a polyhedrical examination of the wall mosaic, founded on interdisciplinary methodology, I’ve tried to clarify the complex network of cultural, ideological and artistic works that have involved and still involve Ravenna and the various centers of Late Antiquity, focusing on the plurality, complexity and the confluence of different artistic experiences. For this purpose, artistic and archaeological data have been integrated with historical, hagiographical and epigraphic ones, with appropriate references to architecture, sculpture, decorative arts and miniatures, in order to witness the unity of intent of different artistic media, which, despite the diversity, are oriented towards the same dogmatic, political and celebratory purposes. In conclusion, the main aim of this study is to offer a review and a synthesis of the Mediterranean wall mosaics of the Vth and VIth century, in order to add another “tessera” to the already vast literature written on this topic.
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Leatherbury, Sean Villareal. "Inscribed within the image : the visual character of early Christian mosaic inscriptions." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:9ea6f425-7010-4820-b35d-bed33c658b60.

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Between the fourth and the seventh centuries CE, Christian patrons erected thousands of churches, chapels, and monasteries in cities and villages across the Mediterranean, decorating the apses, walls and floors of many of these structures with figural and geometric mosaics. These late antique Christian mosaics have been studied for their iconography, their Graeco-Roman components, and as evidence for the religious beliefs of newly-Christian patrons. However, art historians largely have ignored the ways that texts, inscribed within the visual field and composed of the same mosaic material, functioned as images in Christian spaces. For the first time, this thesis assembles the foundations of a comprehensive catalogue of early Christian mosaic inscriptions, places them back into the physical spaces in which they were meant to be read, and analyzes how these texts functioned both verbally and visually for the late antique reader/viewer, against the backdrop of Graeco-Roman traditions. I first examine the ekphrastic components of Christian inscriptions and look more closely at the different ways in which texts work with and against images and spaces, encouraging the viewer to react physically and mentally. Second, I study the language of light used by the inscriptions, and argue that this language linked text to the material of mosaic and enabled patrons to make complex statements about their cultural erudition and religious affiliation. Third, I investigate the functions and visual forms of short tituli which label scenes or name figures to simplify, authenticate or transform static images into narratives in motion. Finally, I turn to the frames of the inscriptions and contend that different forms conveyed powerful visual arguments. By writing these texts back into their mosaics, this thesis argues that texts and images were inseparable in the period, and that text written into images performed and played in more complex ways than has been previously thought.
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Foletto, Leonardo Feltrin. "Um mosaico de parcialidades na nuvem coletiva : rastreando a Mídia Ninja (2013 - 2016)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/158675.

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Esta tese apresenta um estudo sobre o processo de produção da Mídia Ninja tendo por guia teórico-metodológico a Teoria Ator-Rede (TAR). A investigação procurou compreender as redes de mediação e o papel dos objetos técnicos na ação do coletivo, bem como relacionar o tipo de trabalho realizado pela Mídia Ninja com os estudos de comunicação e jornalismo. O método de pesquisa utilizado foi inspirado na etnografia, aplicando a técnica da observação participante em dois momentos distintos (maio e junho de 2015, fevereiro de 2016), aliado à documentação em texto, vídeos, fotos e entrevistas de momentos significativos do coletivo em 2013. Em sua primeira parte, a tese apresenta algumas das principais noções da TAR, como a relação de simetria entre sujeitos e objetos, e as aproxima com a mídia e jornalismo. Na sequência, foi descrito o início da Mídia Ninja como coletivo de mídia estabelecido a partir do Fora do Eixo, uma rede de produção cultural com diversos pontos espalhados pelo país, e tornado mundialmente conhecido a partir da cobertura das manifestações de junho de 2013 no Brasil. Na segunda parte, a análise rastreou três momentos entre junho e julho de 2013 para acompanhar o processo de início do uso de um software de transmissão ao vivo, o TwitCasting, e perceber quais foram os deslocamentos produzidos na produção de narrativas ao vivo no coletivo. Depois, a descrição focou nos fluxos de produção da redação Ninja, realçando os espaços, os modos de convivência e a organização ao mesmo tempo fixa e volátil de seus participantes. Por fim, foi possível perceber alguns objetos técnicos como mediadores determinantes no processo de produção de informação da Mídia Ninja, e a dificuldade de definir previamente o "mosaico de parcialidades" da ação Ninja enquanto jornalismo ou ativismo, já que tudo é performado de acordo com a situação envolvida e o movimento realizado pelos atores.
This thesis presents a study about the production process of the Mídia Ninja having Actor- Network Theory (ANT) as a theoretical-methodological guide. The investigation sought to understand mediation networks and the role of technical objects in the collective action, as well as to relate the kind of work done by the Mídia Ninja with the studies of communication and journalism. The research method used was inspired by ethnography, applying the technique of participant observation in two different moments (May and June 2015, February 2016), allied with documentation in text, videos, photos and interviews of significant moments of the collective in 2013. In first part, the thesis presents some of the main notions of ANT, such as the relation of symmetry between subjects and objects, and approaches them with media and journalism. In the sequence, the beginning of the Mídia Ninja was described as a media collective established from Fora do Eixo, a cultural production network with several points spread throughout the country, and made known worldwide from the coverage of the manifestations of June 2013 in Brazil. In the second part, the analysis tracked three moments between June and July 2013 to follow the process of beginning to use a live streaming software, TwitCasting, and to perceive the displacements produced in the production of live narratives into the collective. Then, the description focused on the production flows of the Ninja newsroom highlighting the spaces, the ways of living together, and the organization that is both fixed and volatile of its participants. Finally, it was possible to perceive some technical objects as determining mediators in the production process of the Mídia Ninja information, and the difficulty to define previously the "mosaic of partialities" of the Ninja action as journalism or activism, since everything is performed according to the situation involved and the movement carried out by the actors.
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Danarti, Retno. "Paradominance and didymosis : two etiologically related mosaic phenomena in human skin /." Marburg : Tectum-Verl, 2004. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=012894057&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Books on the topic "Medieva Mosaics"

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Le décor du pavement au Moyen Âge: Les mosaïques de France et d'Italie. [Rome]: École française de Rome, 2010.

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Les mosaïques de pavement médiévales de Venise, Murano, Torcello. Paris: Picard, 1985.

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Istituto di antichità ravennati e bizantine., ed. I mosaici pavimentali della Cattedrale di Novara: Dal tardoantico al medioevo. Ravenna: Edizioni del Girasole, 1995.

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Colloque international pour l'étude de la mosaïque antique (6th 1990 Palencia, Spain, and Mérida, Spain). VI Coloquio internacional sobre mosaico antiguo: Palencia-Mérida, Octubre 1990. [Spain]: Asociación Española del Mosaico, 1994.

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Castilla y León (Spain). Junta., Junta de Extremadura, and Palencia (Spain : Province). Diputación, eds. VI coloquio internacional sobre mosaico antiquo, Palencia-Mérida, octubre 1990. [Guadalajara, Spain]: Asociación Espãnola del Mosaico, 1993.

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Carette, Martine. Carreaux de pavement médiévaux de Flandre et d'Artois, XIIIe-XIVe siècles: Exposition du 8 juin au 1er septembre 1985, Musée de Saint-Omer. Arras: Le Musée, 1985.

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Il mosaico di Otranto: Biblioteca medioevale in immagini. 2nd ed. Lecce: Edizioni del grifo, 1990.

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Gianfreda, Grazio. Suggestioni e analogie tra il mosaico di Otranto e la Divina Commedia. 4th ed. Lecce: Edizioni del Grifo, 1999.

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Gianfreda, Grazio. Suggestioni e analogie tra il mosaico di Otranto e la Divina Commedia. 4th ed. Lecce: Edizioni del grifo, 1999.

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Gianfreda, Grazio. Il mosaico di Otranto: Biblioteca medioevale in immagini. 6th ed. Lecce: Edizioni del Grifo, 1998.

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Book chapters on the topic "Medieva Mosaics"

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Patankar, Sushobhan. "Multimedia Mosaic." In A Handbook of Journalism: Media in the Information Age, 74–78. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications, Inc., 2018. http://dx.doi.org/10.4135/9789353280277.n10.

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Boulton, Meg. "Mosaics, Marbles, and Medievalisms. Displaying the Foundation Narrative of the English Church in Westminster Cathedral." In Medieval Stories and Storytelling, 133–55. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.mnt-eb.5.121605.

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Schellewald, Barbara. "Temporality versus Transcendence: Mosaic as a Medium beyond Perspective." In Temporality and Mediality in Late Medieval and Early Modern Culture, 15–39. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.cursor-eb.5.114020.

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Naji, Jamal Eddine. "The Mediterranean Arab Mosaic Between Free Press Development and Unequal Exchanges with the “North”." In The Handbook of Global Media and Communication Policy, 306–18. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444395433.ch19.

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Thunø, Erik. "Materializing the Invisible in Early Medieval Art: The Mosaic of Santa Maria in Domnica in Rome." In Seeing the Invisible in Late Antiquity and the Early Middle Ages, 265–89. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.usml-eb.3.2351.

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"The media mosaic." In Language and Popular Culture in Japan, 134–43. Routledge, 2010. http://dx.doi.org/10.4324/9780203843963-12.

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"Moroccan world beat through the media." In Mediterranean Mosaic, 87–108. Routledge, 2013. http://dx.doi.org/10.4324/9781315023632-9.

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"7. McLuhan and Media Studies." In Marshall McLuhan's Mosaic, 123–38. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442683938-009.

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"“New sounds, old tunes” Tunisian Media Stars Reinterpret the Ma’luf." In Mediterranean Mosaic, 129–50. Routledge, 2013. http://dx.doi.org/10.4324/9781315023632-11.

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"8. From Literature to Media Studies." In Marshall McLuhan's Mosaic, 139–54. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442683938-010.

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Conference papers on the topic "Medieva Mosaics"

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Chen, Hui, Bin Zhao, and Yue Liu. "A Video Mosaic Algorithm for Compressed Video." In Second Workshop on Digital Media and its Application in Museum & Heritages (DMAMH 2007). IEEE, 2007. http://dx.doi.org/10.1109/dmamh.2007.38.

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Chen, Hui, Bin Zhao, and Yue Liu. "A Video Mosaic Algorithm for Compressed Video." In Second Workshop on Digital Media and its Application in Museum & Heritage (DMAMH 2007). IEEE, 2007. http://dx.doi.org/10.1109/dmamh.2007.4414583.

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Sen-Hua Wang and Yong-Qing Yang. "A kind of novel optimization algorithm for image mosaic." In 2012 International Conference on Wavelet Active Media Technology and Information Processing (ICWAMTIP). IEEE, 2012. http://dx.doi.org/10.1109/icwamtip.2012.6413473.

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Hui-Yu Huang and Tai-Chun Wei. "Fast locating detection of covering region in image mosaic." In 2nd European Workshop on the Integration of Knowledge, Semantics and Digital Media Technology (EWIMT 2005). IET, 2005. http://dx.doi.org/10.1049/ic.2005.0747.

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Rocha, Taine Teotonio Teixeira da. "FEIJÃO TRANSGÊNICO RESISTENTE AO MOSAICO DOURADO E A ACEITAÇÃO NA CADEIA PRODUTIVA." In I Congresso de Engenharia de Biotecnologia. Revista Multidisciplinar de Educação e Meio Ambiente, 2021. http://dx.doi.org/10.51189/rema/1361.

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Introdução: O mosaico dourado é umas das principais doenças que acometem a cultura do feijoeiro comum (Phaseolus vulgaris). A doença é transmitida pela mosca branca e tem como agente etiológico um geminivírus (BGMV). As perdas em produção de grãos causadas pela doença são estimadas entre 40 e 100%, conforme o grau de suscetibilidade da cultivar plantada. Assim como em outras doenças virais, a utilização de plantas resistentes é a medida mais eficaz no controle, e desse modo, a adoção do feijão transgênico é uma alternativa efetiva no seu controle, reduzindo o uso de defensivos e os riscos de produção. Objetivos: Apresentar as principais características genéticas e agronômicas da cultivar transgênica de feijão. Material e Métodos: Foi realizada uma pesquisa em meios digitais e impressos de publicações nos idiomas português e inglês, utilizando como palavras chaves: Phaseolus vulgaris, transgenia, BGMV e melhoramento. Resultados: A primeira cultivar transgênica do feijão comum ainda apresenta baixa aceitação na cadeia produtiva, por características relacionadas principalmente a produtividade e a baixa resistência ao Carlavirus que tem potencial de causar perda de até 30% da produção. Outro ponto argumentado pelo produtor é a inexistência de recursos para identificação da cultivar, e a resistência e insegurança por parte dos consumidores sobre os alimentos transgênicos. Conclusões: Ainda que apresente por parte da cadeia produtiva grande resistência, o feijão transgênico é uma realidade, e para o controle do mosaico dourado, a opção mais efetiva. Assim como qualquer tecnologia, passará por esse período de aceitação, mas a tendência é que torne presente nos plantios e na mesa do consumidor.
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Ji, Dongsheng, Ruiyang Yang, Long Zhang, Bo Wang, and Xiaoyun Chen. "The research of medical microscopic image mosaic based on the algorithm of surf." In 2013 10th International Computer Conference on Wavelet Active Media Technology and Information Processing (ICCWAMTIP). IEEE, 2013. http://dx.doi.org/10.1109/iccwamtip.2013.6716591.

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Guoming Gao, Fengjiao Fan, Jianping Li, and Xuefei Tang. "Research on simple fragment mosaic based on 0–1 integer programming model with cosine similarity." In 2015 12th International Computer Conference on Wavelet Active Media Technology and Information Processing (ICCWAMTIP). IEEE, 2015. http://dx.doi.org/10.1109/iccwamtip.2015.7493987.

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Wang, Xue, and Jing Liu. "A mosaic algorithm for high-resolution s-μCT image of porous media based on SIFT & SGWs." In 2013 12th IEEE International Conference on Cognitive Informatics & Cognitive Computing (ICCI*CC). IEEE, 2013. http://dx.doi.org/10.1109/icci-cc.2013.6622286.

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