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Academic literature on the topic 'Pierre (1475?-1538?)'
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Journal articles on the topic "Pierre (1475?-1538?)"
Kumar, Shaji K., Jae Hoon Lee, Meletios A. Dimopoulos, Evangelos Terpos, Efstathios Kastritis, Wee Joo Chng, Artur J. Jurczyszyn, et al. "Outcomes after Initial Relapse of Multiple Myeloma: An International Myeloma Working Group Study." Blood 126, no. 23 (December 3, 2015): 4201. http://dx.doi.org/10.1182/blood.v126.23.4201.4201.
Full text"Buchbesprechungen." Zeitschrift für Historische Forschung: Volume 47, Issue 4 47, no. 4 (October 1, 2020): 663–808. http://dx.doi.org/10.3790/zhf.47.4.663.
Full textDissertations / Theses on the topic "Pierre (1475?-1538?)"
Iacobini, Valerio. "Commedia regolare e comici sregolati : Farsa, novella e "mercato" dello spettacolo tra Francia e Italia alle soglie del Rinascimento." Paris 8, 2008. http://octaviana.fr/document/140535136#?c=0&m=0&s=0&cv=0.
Full textLe problème principal pour l'étude des premiers contacts établis entre dramaturgies italienne et française au début de la Renaissance est la pénurie des sources. Grace à une reconstruction qui utilise plusieurs outils critiques (bibliographie matérielle, histoire de l'imprimerie, linguistique), cette étude voudrait surmonter les lacunes documentaires sur la performance à la fin du Moyen Âge, en reconstituant le réseau de relations culturelles entre les deux côtés des Alpes pour la période 1464-1548 dans le provinces du Nord de la France et à Lyon. Les théories sur la modularité de la farce et de la sottie, (genres dominants en France aux XVe et XVIe siècles) nous permettent d'établir un parallèle structural entre théâtre français et nouvelle italienne ; vérifié également dans la circulation des schémas dramatiques. Nous avons cherché sinon les traces précoces des comédiens, au moins celles des ouvriers du spectacle italien, premièrement en analysant la perméabilité culturelle italo-française pendant les guerres d'Italie (où le théâtre devient un moyen de propagande politique) ; deuxièmement en considérant les données sur la migration des Italiens en France ; finalement en comparant une étrange gravure contenue dans un livre d'heures avec trois répertoires gestuels. Dans ce contexte les cas singuliers d'auteurs comme Pierre Gringore et Giovan Giorgio Alione ne manquent pas. Il s'agit de données en partie déjà connues, mais jamais regroupées dans un discours critique unitaire, qui révèle une concordance d'intérêts entre lettres profanes italiennes et françaises, apte à construire un milieu capable de faire fructifier plus tard en France la Renaissance théâtrale italienne
The essential problem in studying contacts between Italian and French dramaturgy during the early Renaissance is the shortage of sources. By a reconstruction that uses several critical tools such as textual bibliography, history of press and linguistic studies, our thesis wants to transcend this scarcity. In this aim we thought back the net of cultural relationships on the two sides of the Alps between 1464 and 1548, particularly in Lyon and Paris. Theories about farcical modularity (farce and "sotties" are the most important "dramas" in France at our given time) identify a structural analogy in French theater and Italian novels; an analogy that can be also verified in plots' repetitiveness. We looked for traces of all kinds, sometimes not directly linked to the theater, like the presence in the court of Italian arts workers or the general cultural permeability between Italy and France during the Italian Wars, where the theater became an important propaganda device. Then, we analyzed migration data and finally we compared a strange woodcut in a devotional book with three gestural repertoires. In this context we didn't forget singular cases such as Pierre Gringore and Giovan Giorgio Alione. Maybe all these elements are known singularly, but they have never been dealt with together, and we think that in a coherent frame all these phenomenons reveal a common background that permitted the late settling of Italian theatrical Renaissance culture in France
Burgoyne, Lynda. "Structures du théâtre mediéval : la Vie de Mgr. Sainct Loys." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63307.
Full textCollomb, Anne-Laure. "La peinture sur pierre en Italie 1530-1630." Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/collomb_al.
Full textBeaubien, Marie-Michelle. "L'utilisation de la violence à travers la littérature pamphlétaire du début de la Réforme de l'aire française : les écrits de polémique religieuse de Pierre de Vingle (1533-1535)." Master's thesis, Université Laval, 2005. http://hdl.handle.net/20.500.11794/18124.
Full textGessner, Samuel. "Mathématiques et applications : les mathématiques dans les écrits d'architecture italiens 1545-1570." Paris 7, 2006. http://www.theses.fr/2006PA077017.
Full textThis work examines the mathematics contained in italian architectural writings printed between 1545 and 1570. It focuses on the texts by serlio, salviati, barbaro, cataneo and palladio, which are generally non-mathematical. They nevertheless convey a set of mathematical notions, diagrams and instruments. The aimis hence to determine the place of the architect's geometrical toolbox, in the context of the multiple strands of mathematical practices then available in italy. The following features prevail: the set of mathematical tools draws on certain contributions from scholarly mathematics, which undergo specific adaptation in the context of a mechanical art. In particular, it is shown how certain features typical of « euclidian » propositions are used when practical mathematics are codified. On the other hand, departing from the « euclidian » model, one observes a specific demonstrative register that relies on visual accuracy rather than on logical deduction. Additionally, the authors' consciousness and affirmation of the specificites of per numero and per linea procedures, as well as of their mutual correspondence, is pari of « architectural mathematics ». The fact that the per linea approach prevails here distinguishes the mathematics of these writings from the abacus treatises. Concomitante y, the way in which geometry becomes codified reveals an understanding of geometry as a « science of instrument usage ». The drawing of the ionic capital volute testifies to the numerous degrees of application and integration of these notions and techniques to solve a problem
Vintenon, Alice. "Phantasia plus quam fantastica : penser en fiction à la Renaissance." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100121.
Full textThis study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soul
Heringuez, Samantha. "La représentation de l'architecture dans l'oeuvre des peintres romanistes de la première moitié du XVIe siècle : jean Gossart, Bernard Van Orley et Pieter Coecke van Aelst." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2020.
Full textRooted in a fertile Gothic, but turned to other horizons, the first Romanists painters of the XVIth century have not only knocked down all the conventions of the traditional Flemish painting, but they have also broadcasted the classic language of ancient and renaissance architecture discovered during their stay in the Peninsula. By introducing gradually motives all’antica inside their pictorial works, they have encouraged to a certain extent the builders of the Low Countries to get acquainted with this new aesthetics come from Italy. Despite the interest which they represent, their fictitious architectures have never been studied. Through the study of the architectural backgrounds of three major figures of the first Romanism, Jean Gossart, Bernard van Orley and Pieter Coecke van Aelst, we shall try to determine the sources of the Italianism of their language to evaluate their effective knowledge in classic architecture and to bring a new testimony on the development of the Renaissance in the Low Countries
Trindade, António Oriol. "Um olhar sobre a perspectiva linear em Portugal nas pinturas de cavalete, tectos e abóbadas : 1470-1816." Doctoral thesis, 2008. http://sibul.reitoria.ul.pt/F/?func=item-global&doc_library=ULB01&type=03&doc_number=000539355.
Full textResumo alargado em português e em inglês disponível no documento
Masse, Vincent. "Sublimés des Nouveaux Mondes – Évocation des lieux de l'expansion européenne dans les imprimés français, des origines à 1560." Thesis, 2009. http://hdl.handle.net/1807/19202.
Full textGonçalves, Miguel de Sousa 1988. "O desenho científico de identificação em guias ecológicos." Master's thesis, 2014. http://hdl.handle.net/10451/11456.
Full textThe objective of this report was the construction of an Ecological Guide to the Monteiro-Mor Park in Lisbon, making use of scientific drawing of identification for describing ten botanical species. Was completed all the stages of production of this type of publication, including planning, research and creation of their graphics and written content, design and layout, and the construction of two maps that also feature in the Guide, but can function as well whit independent units. All materials resulting from the dissertation will be utilized by the Museum of Traje, the entity responsible for management of Monteiro-Mor Park, to promote and guidance of the space the visitors in the Park which through the Ecological Guide they can meet part of its heritage and his natural history. As theoretical basis of this labor it is analyzed the life and work of three historical authors which excelled in the area of scientific drawing - Albrecht Dürer (1471-1528), renowned German engraver, drawer, painter and mathematician, Pierre-Joseph Redouté (1759 - 1840), illustrious Belgian artist and botanist, who distinguished himself with the works Les Liliacées and Les Roses, and John James Audubon (1785-1851), American artist who produced the monumental work the Birds of America. It was done a critical analysis of some ecological guides available in the Portuguese market in order to better understand the structure and characteristics of this type of publications. Was took into account the positive and negative aspects of each one to better informing the construction of the Ecological Guide
Possui um DVD com Anexos,com a cota: CDA 158, apenas consultável na Biblioteca da FBAUL
Books on the topic "Pierre (1475?-1538?)"
Playing the fool: Subversive laughter in troubled times. Chicago: The University of Chicago Press, 2009.
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