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Artículos de revistas sobre el tema "Giuliani"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 27 de julio de 2024

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1

SUPRIANDO, SUPRIANDO. "120 ARPEGGIO OP. 1 MAURO GIULIANI: PENGARUHNYA TERHADAP KUALITAS PETIKAN GITAR KLASIK." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 1 (2021): 177. http://dx.doi.org/10.26887/ekspresi.v23i1.1570.

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Abstract120 Arpeggio Op. 1 developed by Mauro Giuliani is a technique exercises specifically targeting the improvement of the ability of the right finger for classical guitarists. Various variations or complete right finger exercise formulas are summarized in 120 Arpeggio Op. 1 Mauro Giuliani. This research was conducted with the aim to find out about any aspect of the right hand that had improved after practicing using the 120 Arpeggio Op. 1 technique exercises method of Mauro Giuliani. The results of this research showed that there were several things that technically the right hand had improved after doing the exercises with the M. Giulian method, including: (1) Speed of the plucking, (2) Finger synchronization when plucking the string, (3) Accuracy of the finger when plucking the guitar strings and (4) Articulation. The method used in this study is a qualitative method by prioritizing explanations which are then forwarded analytically to the research object.

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2

Criswick, Mary, Giuliani, and B. Jeffery. "Giuliani." Musical Times 127, no. 1718 (1986): 283. http://dx.doi.org/10.2307/965473.

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3

Tsoumou, Jean Mathieu. "“What is Wrong With You People That You are Happy Someone has Covid” Impoliteness in the Coronavirus Pandemic Era." SAGE Open 13, no. 1 (2023): 215824402311610. http://dx.doi.org/10.1177/21582440231161040.

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Whilst the coronavirus pandemic keeps threatening the world at large, little is yet known about the impoliteness implications of user-generated- Covid-related contents on social media such as Facebook. The aim of this study is to examine the comments made in response to Giuliani’s Covid- 19 diagnosis, from an impoliteness perspective. A merely qualitative analysis of a dataset of 3,000 comments evenly collected from three different news outlets (i.e., BBC, CNN, Fox News), the findings reveal that the reactions to Giuliani’s diagnosis are more focused on him being a politician, than him being a human being affected by the virus. The reactions attack his actions and the actions of others within his political party, which suggests that impoliteness has a strong dependence on previous actions and political engagement. Giuliani is seen by some users to be undeserving of compassion or empathy not just on the grounds of his active involvement in attempting to overturn the presidential election results, but also for his disregard toward mask wearing in public spheres. Not all the users, however, appreciate the attacks against Giuliani. Through metadiscursive comments, some users not just feel the need to treat Giuliani as a human being, but more importantly remind fellow users that Covid-19 should be a concern for all. What is particularly critical about these metacomments is that while the users advocate for civil interactions, they mostly do not condone Giuliani’s actions. This so because these users understand what should be obligatory, permissible, or forbidden on the human level under the circumstances.

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4

Hackl, Stefan. "Mauro Giuliani and Austrian Folk Music." Soundboard Scholar 5, no. 1 (2019): 17–26. http://dx.doi.org/10.56902/sbs.2019.5.5.

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Mauro Giuliani, one of the most important figures in the growth and development of the guitar in the earlier nineteenth century, spent his most productive years in Vienna from 1806 to 1819. He was well connected with the cultural and social life of the imperial city, at the time a melting pot which welcomed talented artists with diverse backgrounds from throughout the provinces and neighboring states. Here, Hackl discusses Giuliani's folk songs.

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5

Pijnappels, Kees. "Giuliani geschrapt?" Advocatenblad 101, no. 1 (2021): 51. http://dx.doi.org/10.5553/ab/0165-13312021101001018.

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6

Marshall, E. "Rudolph Giuliani." Science 319, no. 5859 (2008): 24–25. http://dx.doi.org/10.1126/science.319.5859.24b.

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7

Lanslots, Inge. "Gli ingranaggi della memoria del G8 2001 in Carlo Giuliani. Il ribelle di Genova." Forum Italicum: A Journal of Italian Studies 51, no. 1 (2017): 112–32. http://dx.doi.org/10.1177/0014585816682489.

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Il presente contributo propone l’analisi di Carlo Giuliani. Il ribelle di Genova di Francesco Barilli e Manuel De Carli (2011), che a dieci anni di distanza rielabora la memoria degli eventi del G8 2001 tramite quella della figura di Carlo Giuliani. Carlo Giuliani. Il ribelle di Genova, edito da BeccoGiallo, vuole essere una contronarrazione alla versione ufficiale dei fatti inscrivendosi nel sottogenere del docunovel, nel senso che si presenta come una narrazione grafica che si serve delle modalità di rappresentazione tipiche del documentario e della finzione. L’analisi del docunovel partirà dalla rappresentazione della figura di Carlo Giuliani la cui morte viene descritta come un evento tragico e traumatico tipico dell’ingiustizia che caratterizza la storia italiana contemporanea, ma che poi viene collegata ad altri eventi storici altrettanto traumatici. Si metteranno in rilievo le specificità contenutistiche e le strategie narratologiche del docunovel, ma anche l’importanza del fitto apparato paratestuale che iscrive la morte di Giuliani in un contesto storico prettamente italiano. La contestualizzazione porterà anche al confronto di Carlo Giuliani. Il ribelle di Genova con altre narrazioni fumettistiche nella misura in cui tutte sembrano rifarsi alla stessa iconografia. L’analisi del docunovel farà emergere le peculiarità del discorso commemorativo evocato dalla scomparsa di Carlo Giuliani e gli eventuali effetti performativi sul lettore.

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8

Putra, Ditya Cahya. "Tinjauan Variasi Melodi dan Struktur Lagu "6 Variations on folies d'Espagne Op.45" Karya Mauro Giuliani." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 1, no. 2 (2020): 42. http://dx.doi.org/10.26740/vt.v1n2.p42-49.

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Abstrak : Lagu “6 Variations On Folies d’Espagne Op.45” merupakan lagu yang ditulis oleh Mauro Giuseppe Sergio Pantaleo yang akrab dikenal dengan panggilan Mauro Giuliani. Penelitian ini bertujuan untuk mendeskripsikan Variasi Melodi dan Struktur lagu 6 Variations On Folies d’Espagne Op.45 karya Mauro Giuliani. Rumusan masalah dalam penelitian ini adalah: 1) Bagaimana struktur lagu “6 Variations On Folies d’Espagne Op.45” karya Mauro Giuliani 2) Bagaimana variasi pada lagu “6 Variations On Folies d’Espagne Op.45” karya Mauro Giuliani. Jenis Penelitian ini merupakan penelitian deskriptif kualitatif. Penulis tertarik meneliti tentang teknik variasi melodi ini dikarenakan keistimewaan lagu 6 Variations On Folies d’Espagne Op.45 yang diciptakan Mauro Giuliani untuk temanya lebih banyak menggunakan variasi ritme yang berbeda-beda. Dalam metode tersebut subjek penelitiannya adalah full score “6 Variations On Folies d’Espagne Op.45” oleh Mauro Giuliani. Hasil analisis yang didapat adalah struktur lagu “6 Variations On Folies d’Espagne Op.45” terdiri dari 3 bagian dengan tempo Andantino, Adagio, Vivace dengan 3 tema. Variasi melodi yang terjadi pada melodi utama adalah melodic variation and fake dan kemudian variasi yang digunakan diluar melodi utama antara lain counter melody, variation rhytmyc and fake rhytmyc

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9

Spivey, Nigel. "Art and Archaeology." Greece and Rome 61, no. 2 (2014): 287–90. http://dx.doi.org/10.1017/s0017383514000138.

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Whatever Luca Giuliani writes is usually worth reading. Image and Myth, a translation and revision of his Bild und Mythos (Munich, 2003), is no exception. This monograph engages with a topic germane to the origins and development of classical archaeology – the relation of art to text. Giuliani begins, rather ponderously, with an exposition of G. E. Lessing's 1766 essay Laokoon, ‘on the limits of painting and poetry’. Lessing, a dramatist, predictably considered poetry the more effective medium for conveying a story. A picture, in his eyes, encapsulates the vision of a moment – likewise a statue. The Laocoon group, then, is a past perfect moment. A poet can provide the beginning, middle, and end of a story; the artist, only the representation of a fleeting appearance. Giuliani shows that this distinction does not necessarily hold – works of art can be synoptic, disobedient of Aristotelian laws about unity of place and time (and scale). Yet he extracts from Lessing's essay a basic dichotomy between the narrative and the descriptive. This dichotomy dictates the course of a study that is most illuminating when its author is being neither narrative nor descriptive but analytical – explaining, with commendable care for detail, what we see in an ancient work of art. But is the distinction between narrative and descriptive as useful as Giuliani wants it to be? One intellectual predecessor, Carl Robert, is scarcely acknowledged, and a former mentor, Karl Schefold, is openly repudiated; both of these leave-takings are consequent from the effort on Giuliani's part to avoid seeking (and finding) ‘Homeric’ imagery in early Greek art. The iconography of Geometric vases, he maintains, ‘is devoid of narrative intention: it refers to what can be expected to take place in the world’ (37). In this period, we should not be asking whether an image is ‘compatible’ with a story, but rather whether it is incomprehensible without a story. If the answer is ‘no’, then the image is descriptive, not narrative. Thus the well-known oinochoe in Munich, clearly showing a shipwreck, and arguably intending to represent a single figure astride an overturned keel, need not be read as a visual allusion to Odyssey 12.403–25, or some version of the tale of Odysseus surviving a shipwreck. It is just one of those things that happens in the world. Well, we may be thinking – let us be glad that it happens less frequently these days, but double our travel insurance nevertheless. As Giuliani commits himself to this approach, he is forced to concede that certain Geometric scenes evoke the ‘heroic lifestyle’ – but, since we cannot admit Homer's heroes, we must accept the existence of the ‘everyman aristocrat’ (or aristocratic everyman: either way, risking oxymoron). Readers may wonder if Lessing's insistence on separating the descriptive from the narrative works at all well for Homer as an author: for does not Homer's particular gift lie in adding graphic, descriptive detail to his narrative? And have we not learned (from Barthes and others) that ‘descriptions’, semiotically analysed, carry narrative implications – implications for what precedes and follows the ‘moment’ described? So the early part of Giuliani's argument is not persuasive. His conviction, and convincing quality, grows as artists become literate, and play a ‘new game’ ‘in the context of aristocratic conviviality’ (87) – that of adding names to figures (as on the François Vase). Some might say this was simply a literate version of the old game: in any case, it also includes the possibility of ‘artistic licence’. So when Giuliani notes, ‘again we find an element here that is difficult to reconcile with the epic narrative’ (149), this does not, thankfully, oblige him to dismiss the link between art and text, or art and myth (canonical or not). Evidently a painter such as Kleitias could heed the Muses, or aspire to be inspired; a painter might also enjoy teasing his patrons with ‘tweaks’ and corrigenda to a poet's work. (The latter must have been the motive of Euphronios, when representing the salvage of the body of Sarpedon as overseen by Hermes, rather than by Apollo, divergent from the Homeric text.) Eventually there will be ‘pictures for readers’, and a ‘pull of text’ that is overt in Hellenistic relief-moulded bowls, allowing Giuliani to talk of ‘illustrations’ – images that ‘have surrendered their autonomy’ (252).

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10

Pontón, Gonzalo. "Luigi Giuliani y Victoria Pineda, eds., «El punto y la voz. La puntuación del texto teatral (siglos XVI-XVIII) / «La edición del diálogo teatral (siglos XVI-XVII)»." Anuario Lope de Vega Texto literatura cultura 28 (January 26, 2022): 563–69. http://dx.doi.org/10.5565/rev/anuariolopedevega.462.

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Reseña de Luigi Giuliani y Victoria Pineda, eds., El punto y la voz. La puntuación del texto teatral (siglos XVI-XVIII), Pisa University Press, Pisa, 2020, 242 pp. ISBN: 9788833394343. / Luigi Giuliani y Victoria Pineda, eds., La edición del diálogo teatral (siglos XVI-XVII), Firenze University Press, Florencia, 2021, 174 pp. ISBN: 9788855182232.

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11

Smith, Neil. "Giuliani Time: The Revanchist 1990s." Social Text, no. 57 (1998): 1. http://dx.doi.org/10.2307/466878.

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12

Kim, S. C. "Reply to Giuliani et al." Clinical Infectious Diseases 40, no. 10 (2005): 1548–49. http://dx.doi.org/10.1086/429729.

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13

Harney, Stefano. "Fragment on Kropotkin and Giuliani." Social Text 20, no. 3 (2002): 9–20. http://dx.doi.org/10.1215/01642472-20-3_72-9.

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14

Berghaus, Günter. "Fulvia Giuliani: Portrait of a Futurist Actress." New Theatre Quarterly 10, no. 38 (1994): 117–21. http://dx.doi.org/10.1017/s0266464x00000282.

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Despite the importance of Italian Futurism to the modernist movement in Europe during the early inter-war period, it has suffered a bad press – initially because of its association with the emergent fascist movement, and more recently because of the feminist concern with apparently misogynistic elements in the writing of the acknowledged leader of the movement, F. T. Marinetti. However, Günter Berghaus argues that this is to ignore not only the roots of Marinetti's own anti-feminism – in contempt for the very aspects of subservient womanhood now condemned by feminists themselves – but also the support that Futurism enjoyed from a number of women artists in Italy at the time. Certainly, the early career of the actress Fulvia Giuliani affirms both her strong endorsement for and participation in the movement, and her contempt for women who passively accepted the roles assigned to them by the patriarchy. Günter Berghaus, who teaches in the Drama Department of the University of Bristol, here outlines Giuliani's role in the Futurist movement and documents it from previously unpublished sources.

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15

Giuliani, Marta, Ilaria Morbioli, Francesco Sansone, and Alessandro Casnati. "Correction: Moulding calixarenes for biomacromolecule targeting." Chemical Communications 51, no. 82 (2015): 15208. http://dx.doi.org/10.1039/c5cc90427g.

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16

Vallorani, Nicoletta. "Gaia Giuliani, Monsters, Catastrophes and the Anthropocene: A Postcolonial Critique." Altre Modernità, no. 27 (May 30, 2022): 328–31. http://dx.doi.org/10.54103/2035-7680/17901.

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17

Legowo, Adityo. "Analisis Schenkerian Pada Komposisi L’Armonia Opus 148.5 Gitar Klasik Karya Mauro Giuliani." PROMUSIKA 6, no. 2 (2019): 83–89. http://dx.doi.org/10.24821/promusika.v6i2.2458.

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Ada beragam jenis cara analisis musik namun yang selama ini lebih dikenal dan dipelajari di lingkungan penulis, adalah analisis bentuk musik. Ada cara lain dalam bidang analisis, salah satunya adalah analisis schenkerian. Melalui cara analisis tersebut maka akan didapatkan struktur tonal yang terdalam dari sebuah sistem musik tonal. Cara ini sama sekali belum umum di Indonesia untuk saat ini. Maka dari itu penulis ingin mempelajari lebih dalam mengenahi cara analisis schenkerian. Untuk materi pembahasan akan dibatasi pada karya Mauro Giuliani komposisi L’Armonia opus 148. 5 untuk gitar klasik. Adapun pertimbangan mengenahi objek pembahasan tersebut karena era keemasan musik tonal adalah jaman klasik. Karya tersebut dibuat pada waktu jaman klasik dan diciptakan oleh seorang komposer arus utama untuk musik instrumen gitar. Selain itu karya tersebut dimainkan dalam resital tugas akhir yang dilakukan oleh penulis. Sehingga harapan penulis dengan analisis karya Mauro Giuliani dapat melihat gambaran komponis gitar lainya pada era tersebut. Dgn menggunakan metode kualitatif desriptif dengan pendekatan musikologis, khususnya teori musik dapat disimpulkan bahwa bentuk background komposisi L’Armonia karya Mauro Giuliani adalah bentuk kedalaman yang merupakan hasil reduksi dari bentuk-bentuk sebelumnya. Di dalam bentuk ini terdapat interruption yang berfungsi sebagai penyela dan dikembalikan lagi ke kopfton 3 yang disebabkan oleh adanya struktur yang diulang. Bentuk tersebut dapat dilihat pada pembahasan background.There are various types of music analysis, but what has been better known and studied in the writer's environment, is the analysis of musical forms. There are other ways in the field of analysis, one of which is Schenkerian analysis. Through this method of analysis we will get the deepest tonal structure of a tonal music system. This method is not yet common in Indonesia at this time. Therefore the writer wants to learn more about the schenkerian analysis. For discussion material will be limited to the work of Mauro Giuliani the composition of L 'Armonia opus 148. 5 for classical guitar. The consideration of the object of discussion is because the golden era of tonal music is the classical era. The work was made in classical times and was created by a mainstream composer for guitar instrument music. In addition, the work is played in a final project recital carried out by the author. So the hope of the writer with the analysis of the work of Mauro Giuliani can see the picture of other guitar composers in that era. Using qualitative descriptive methods with a musicological approach, especially music theory, it can be concluded that the form of the background of L'AAmonia's composition by Mauro Giuliani is a form of depth that is the result of reduction from previous forms. In this form there is an interruption that functions as an interrupter and is returned again to Kopfton 3 caused by a repeated structure. This form can be seen in the background discussion.Keywords: schenkerian analysis; L'Oronia opus 148. 5.

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18

Giuliani, Meredith, and Andrea Bezjak. "Rebuttal from Dr. Bezjak and Dr. Giuliani." Translational Lung Cancer Research 5, no. 6 (2016): 658–59. http://dx.doi.org/10.21037/tlcr.2016.12.08.

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19

Uviller, H. Richard. "Client taint: The embarrassment of Rudolph Giuliani." Criminal Justice Ethics 9, no. 1 (1990): 3–10. http://dx.doi.org/10.1080/0731129x.1990.9991866.

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20

McKenna, Brian. "New York mayor, Giuliani, says “be prepared”." Network Security 2004, no. 12 (2004): 20. http://dx.doi.org/10.1016/s1353-4858(04)00174-6.

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21

Sauvalle, Sergio. "Trío Giuliani. El encuentro de nuestra música." Resonancias: Revista de investigación musical 4, no. 6 (2000): 81–83. http://dx.doi.org/10.7764/res.2000.6.14.

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22

Suwahyono, Agus. "œRONDO KARYA SOLO GITAR: MAURO GIULIANI (ANALISIS BENTUK MUSIK)." GETER : Jurnal Seni Drama, Tari dan Musik 2, no. 1 (2019): 19–23. http://dx.doi.org/10.26740/geter.v2n1.p19-23.

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Rondo berasal dari bahasa Perancis ˜Rondeau (diucapkan ˜Rondo) dan berarti lagu berputar: maksudnya ˜refren. Maka Rondo mirip dengan bentuk lagu refren-solis, seperti lazim dipakai dalam lagu pantun dsb. Rondo karya M. Giuliani yang merupakan suatu karya untuk musik instrumental yaitu solo gitar, setelah didengarkan selanjutnya dianalisis maka bentuk Rondo untuk musik instrumen gitar karya M. Giuliani adalah termasuk tipe Rondo Perancis/Rondo Rantai yang memiliki bentuk Rondo dengan dua sisipan,al: A-B-A-C-A. Artinya kalimat (A) mulai birama (1-16); Kalimat (B) mulai birama (16-32); berikutnya kalimat (A) lagi dengan divariasi mulai birama (32-48); kalimat (C) mulai (48-80); kemudian kembali kalimat (A) dengan divariasi muncul lagi mulai birama (80-96) karena kalimat diulang dua kali. Kata Kunci : Rondo, Bentuk Musik

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23

Monzó, Clara. "Luigi Giuliani y Victoria Pineda, eds., «Entra el editor y dice: ecdótica y acotaciones teatrales (siglos XVI y XVII)»." Anuario Lope de Vega Texto literatura cultura 28 (January 26, 2022): 556–62. http://dx.doi.org/10.5565/rev/anuariolopedevega.461.

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Reseña de Luigi Giuliani y Victoria Pineda, eds., «Entra el editor y dice»: ecdótica y acotaciones teatrales (siglos XVI y XVII), Edizioni Ca’ Foscari (Biblioteca di Rassegna iberistica,10), Venecia, 2018, 352 pp. ISBN 9788869693052.

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24

Santagata, Elena. "Il poema cavalleresco nel Novecento: Calvino e Giuliani." Forum Italicum: A Journal of Italian Studies 51, no. 3 (2017): 669–82. http://dx.doi.org/10.1177/0014585817729151.

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25

Sassi, Mauro. "Carlo Giuliani, ragazzo: A counter-hegemonic Italian documentary." Studies in Documentary Film 5, no. 2 (2011): 169–81. http://dx.doi.org/10.1386/sdf.5.2-3.169_1.

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26

Howe, John. "La formazione dell'identità certosina (1084-1155). Adelindo Giuliani." Speculum 80, no. 1 (2005): 230–32. http://dx.doi.org/10.1017/s0038713400007028.

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27

Berra, Sandro. "Cronache Congressuali - Congress Reports: 44° Convegno della Società degli Urologi del Nord Italia." Urologia Journal 62, no. 4 (1995): 648–49. http://dx.doi.org/10.1177/039156039506200437.

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Si è svolto a Loano, Presidente il Prof. Paolo Puppo, Primario della Divisione di Urologia dell'Ospedale Santa Corona di Pietra Ligure, Copresidente il Prof. Giorgio Carmignani, Direttore della Clinica Urologica Luciano Giuliani di Genova, nei giorni 5-6-7 ottobre 1995.

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28

Rouet, Gilles. "Rodolphe Christin, Philippe Godard, Jean-Christophe Giuliani et Bernard." Questions de communication, no. 33 (September 1, 2018): 365–66. http://dx.doi.org/10.4000/questionsdecommunication.12885.

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29

McNamara, Kim, and Donald McNeill. "The City Personified: The Geopolitical Narratives of Rudy Giuliani." Communication and Critical/Cultural Studies 9, no. 3 (2012): 259–78. http://dx.doi.org/10.1080/14791420.2012.699683.

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30

Antonio Camerino, Giuseppe. "Lo specifico mitteleuropeo ei maggiori giuliani del primo novecento." Neohelicon 23, no. 2 (1996): 9–19. http://dx.doi.org/10.1007/bf02435493.

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31

Rofes, E. "IMPERIAL NEW YORK: Destruction and Disneyfication under Emperor Giuliani." GLQ: A Journal of Lesbian and Gay Studies 7, no. 1 (2001): 101–9. http://dx.doi.org/10.1215/10642684-7-1-101.

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32

Ghignoli, Alessandro. "Alfredo Giuliani, Ebriedad de aplacamientos seguido de Poetrix Bazaar." Quaderns d’Italià 28 (December 18, 2023): 289–92. http://dx.doi.org/10.5565/rev/qdi.572.

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33

Ferguson, Robert. "Remembering Tom Heck and His Legacy." Soundboard Scholar 7, no. 1 (2021): 1–9. http://dx.doi.org/10.56902/sbs.2021.7.18.

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An obituary of Thomas Heck (1943–2021), outlining his contributions to guitar scholarship, especially with reference to his seminal biography of Giuliani and his research into musical iconography. This article also describes his contribution to the classical guitar community in the United States, as the founding visionary of the Guitar Foundation of America.

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34

Hull, Christopher C. "When Presidential Candidates Skip Iowa: Modeling Participation in the First-in-the-Nation Caucuses, 1976-2008." American Review of Politics 28 (January 1, 2008): 361–400. http://dx.doi.org/10.15763/issn.2374-7781.2008.28.0.361-400.

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Why did Rudy Giuliani and John McCain skip the Iowa Caucuses in 2008? Which presidential candidates have opted out of the first-in-the-nation nomination contest—and when can they do so with impunity? To find out, this study proposes a risk/reward model based on Bartels’ (1988) conception of momentum and Gurian’s (1993) understanding of candidate strategy. To test the model, it delves into data from a newly updated 1976-2008 database on White House hopefuls’ Hawkeye State participation to explain candidate days spent in Iowa in a particular election cycle. The results suggest candidates are more likely to skip Iowa if they believe they can survive due to high national poll ratings (like Rudy Giuliani in 2008); if they are lower-tier Democrats facing the Caucuses’ 15 percent viability threshold (like Joe Lieberman in 2004); if they are incumbent presidents (like Jimmy Carter in 1980), and especially if they are “crowded out” ideologically, that is, if they are too closely surrounded by similarly positioned candidates or too distant from voters (like Sen. John McCain in 2000).

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35

Cervati, A. Antonio. "Alessandro Giuliani, il linguaggio giuridico, la storia e il diritto costituzionale." RITORNO AL DIRITTO, no. 7 (February 2009): 110–36. http://dx.doi.org/10.3280/rit2008-007012.

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36

Chiletti, Silvia. "Fabienne Giuliani, Les Liaisons interdites. Histoire de l’inceste au XIXe siècle." Clio, no. 42 (December 1, 2015): 254–57. http://dx.doi.org/10.4000/clio.12853.

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37

Quincy-Lefebvre, Pascale. "Fabienne GIULIANI, Les liaisons interdites. Histoire de l’inceste au XIXe siècle." Revue d'histoire du XIXe siècle, no. 50 (July 1, 2015): 230–31. http://dx.doi.org/10.4000/rh19.4872.

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38

Mountz, Alison, and Winifred Curran. "Policing in drag: Giuliani goes global with the illusion of control." Geoforum 40, no. 6 (2009): 1033–40. http://dx.doi.org/10.1016/j.geoforum.2009.08.001.

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39

Long, Pham Van, Gaston Giuliani, Anthony E. Fallick, Andrian J. Boyce, and Vincent Pardieu. "Trace elements and oxygen isotopes of gem spinels in marble from the Luc Yen - An Phu areas, Yen Bai province, North Vietnam." VIETNAM JOURNAL OF EARTH SCIENCES 40, no. 2 (2018): 165–77. http://dx.doi.org/10.15625/0866-7187/40/2/12241.

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Trace elements investigated by electron microprobe analysis (EMPA) have been combined with oxygen isotopic composition of pink, red and other colored spinels (blue, purple, brown, orange, lavender) hosted by marbles and found in placers from Luc Yen and An Phu deposits, Yen Bai province, North Vietnam. The deposits are those from Nuoc Ngap, Cong Troi, Bai Son and different placers from the An Phu area. Trace elements such as Fe-Zn-Cr-V in red and pink gem spinels permit to separate those from Cong Troi and those from the others deposits of the An Phu area. Spinels from Cong Troi have low to extremely low Zn (< 500 ppm) and high Fe contents (3,000 to 16,000 ppm) while those from An Phu area are Zn-rich (up to 11,000 ppm). Iron is the dominant element for the other colored spinels whereas Zn, Cr and V contents are extremely variable. The Bai Son blue spinel is Fe-rich (5,000 to 7,200 ppm) with some V (950 to 1,830 ppm), Cr (270 to 480 ppm), Co (240 to 400 ppm) and Ni (550 to 950 ppm). The O-isotope composition of the whole spinels ranges between 12.1 and 24.2‰ (n = 25). Within each deposit, the range of δ18O values for red, pink and colored spinels is usually similar. However, the red and pink spinels from An Phu present two distinct sets of δ18O values, respectively between 13.2 to 17.0‰ (n = 7) and 22.5< δ18O < 24.2 (n = 5). Those from Cong Troi are from 14.8 to 17.7‰ (n = 3) and their range overlaps that of An Phu. The use of O-isotopes is not useful for distinguishing between the deposits, but the low to extremely low Zn content of the Cong Trois spinels is a discriminant. The variation of δ18O values (12.1 <δ18O < 24.2‰) of the whole spinels indicates that the oxygen isotopic compositions of the metamorphic fluids were probably buffered by the local δ18O values of the impure host marbles.ReferencesChauviré B., Rondeau B., Fritsch E., Ressigeac Ph., Devidal J.-L., 2015. Blue spinel from the Luc Yen district of Vietnam. Gems & Gemology, 51, 2-17.D'Ippolito V., Andreozzi G.B., Hålenius H., Skogby H., Hametner K., Günther D., 2015. Colour mechanisms in spinel: cobalt and iron interplay for the blue colour. Physics and Chemistry of Minerals, 42, 431-439.Garnier V., 2003. Les gisements de rubis associés aux marbres de l’Asie Centrale et du Sud-est: genèse et caractérisation isotopique. PhD thesis INPL, Nancy, France, 373p.Garnier, V., Ohnenstetter, D., Giuliani, G., Maluski, H., Deloule, E., Phan Trong Trinh, Pham Van Long, Hoang Quang Vinh, 2005. Age and significance of ruby-bearing marbles from the Red River shear zone, northern Vietnam. The Canadian Mineralogist, 43, 1315-1329.Garnier V., Giuliani G., Ohnenstetter D., Fallick A.E., Dubessy J., Banks D., Hoang Quang Vinh, Lhomme Th., Maluski H., Pêcher A., Bakhsh K.A., Pham Van Long, Phan Trong Trinh, Schwarz D., 2008. Marble-hosted ruby deposits from central and Southeast Asia: towards a new genetic model. Ore Geology Reviews, 34, 169-191.Giuliani G., Fallick A.E., Garnier V., France-Lanord Ch., Ohnenstetter D., Schwarz D., 2005. Oxygen isotope composition as a tracer for the origins of rubies and sapphires. Geology, 33(4), 249-252.Giuliani G., Fallick A.E., Boyce A.J., Pardieu V., Pham Van Long, 2017. Pink and red spinels in marble: trace elements, oxygen isotopes, and sources. The Canadian Mineralogist, 55, 743-761.Hauzenberger C.A., Häeger T., Baumgartner L.P., Hofmeister W., 2001. High-grade metamorphism and stable isotope geochemistry of N-Vietnamese gem-bearing rocks. In: Proceedings of the Workshop on gems and minerals of Vietnam, Hanoi, 124-138.Hauzenberger C.A., Bagola C., Häeger T., Muellen C., Nguyen Ngoc Khoi, Le Thi Thu Huong, 2014. Mineralogy and petrology of the An Phu marble hosted spinel and corundum deposit, Luc Yen, N-Vietnam. In Proceedings of the 4th International Gem and Jewelry Conference, Chiang Mai, Thailand, 76-78.Kleišmantas A., Daukšyte A., 2016. The influence of Vietnam and Sri Lanka spinel mineral chemical elements on colour. Chemija, 27, 45-51.Kretz R., 1983. Symbols for rock-forming minerals. American Mineralogist, 68, 277-279.Le Thi Thu Huong, Häeger T., Hofmeister W., Hauzenberger C., Schwarz D., Pham Van Long, Wehmeister U., Nguyen Ngoc Khoi, Nguy Tuyet Nhung, 2012. Gemstones from Vietnam: An update. Gems & Gemology, 48, 158-176.Malsy A., Klemm L., 2010. Distinction of gem spinels from the Himalayan mountain belt. Chimia, 64(10), 741-746.Malsy A., Karampelas S., Schwarz D., Klemm L., Armbruster T., Tuan Do Anh, 2012. Orangey-red to orangey-pink gem spinels from a new deposit at Lang Chap (Tan Huong - Truc Lau), Vietnam. The Journal of Gemmology, 33, 19-27.Pham Van Long, Hoang Quang Vinh, Garnier V., Giuliani G., Ohnenstetter D., Lhomme,T., Schwarz D., Fallick A.E., Dubessy J., Phan Trong Trinh, 2004. Gem corundum deposits in Vietnam. Journal of Gemmology, 29, 129-147.Pham Van Long, Pardieu V., Giuliani G., Nguy Tuyet Nhung, Pham Thi Thanh Hien, Pham Duc Anh, Nguyen Ngoc Khoi, Hoang Quang Vinh, 2014. Gemmological characteristics of spinel from Luc Yen, Yen Bai. Journal of Geology, 340, 29-36.Pham Van Long, Pardieu V., Giuliani G., 2014. Update on gemstone mining in Luc Yen, Vietnam. Gems & Gemology, 49, 233-245.Pouchou J.L., Pichoir F., 1991. Quantitative analysis of homogeneous or stratified microvolumes applying "PAP" In Electron Probe Quantification (K.F.J. Heinrich & D.E. Newbury eds.). Plenum Press, New York, USA, 31-75.Valley J.W., 1986. Stable isotope geochemistry of metamorphic rocks. Reviews in Mineralogy, 16, 445-481.Yui T.F., Khin Zaw, Wu C.-M., 2008. A preliminary stable isotope study on Mogok ruby, Myanmar. Ore Geology Reviews, 34, 182-199.

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40

Confalone, Nicoletta, and Grégory Leclair. "Giuliani’s Naples: A Walking Tour." Soundboard Scholar 2, no. 1 (2016): 30–44. http://dx.doi.org/10.56902/sbs.2016.2.7.

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With 430,000 inhabitants in 1800, Naples had become the third most populous European city after London and Paris. The excavation of the site of Pompeii in the eighteenth century gave a special prestige to the city. Its newly unearthed antiquities and frescoes led to a vogue of neoclassicism across the arts. Images of ancient Greek and Roman lyres inspired the creation of the lyre-guitar, an instrument on which Mauro Giuliani performed on various occasions in Naples--probably more for its visual effect than for audibility's sake.

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41

Cassino, Dan, and Cengiz Erisen. "Priming Bush and Iraq in 2008: A Survey Experiment." American Politics Research 38, no. 2 (2010): 372–94. http://dx.doi.org/10.1177/1532673x09346799.

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Using a question-order experiment, half the respondents in a national RDD (random digit dial) likely voter survey taken just prior to the 2008 Presidential Primary election were primed to think about President Bush and the war in Iraq before making their candidate choice. Results show that the priming had a significant effect on their candidate choice, and that priming individuals to think about the war significantly aided the candidacy of eventual Democratic nominee Barack Obama, more than doubling his support, and hurt then Republican front-runner Rudy Giuliani, cutting his support almost in half.

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42

Cavagnini, Giovanni. "Nazione e provvidenza. Padre Reginaldo Giuliani tra Fiume ed Etiopia (1919-36)." PASSATO E PRESENTE, no. 81 (October 2010): 43–67. http://dx.doi.org/10.3280/pass2010-081003.

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43

Stansbury-O'Donnell, Mark D. "Luca Giuliani: Bild und Mythos. Geschichte der Bilderzählung in der griechischen Kunst." Gnomon 78, no. 6 (2006): 536–39. http://dx.doi.org/10.17104/0017-1417_2006_6_536.

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44

Blundell, S. J. "Quantum Theory of the Electron Liquid, by G.F. Giuliani and G. Vignale." Contemporary Physics 51, no. 3 (2010): 284–85. http://dx.doi.org/10.1080/00107510903194710.

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45

Weikart, Lynne A. "The Giuliani Administration and the New Public Management in New York City." Urban Affairs Review 36, no. 3 (2001): 359–81. http://dx.doi.org/10.1177/10780870122184894.

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46

Brademas, John. "PRESIDENTIAL RECORDS." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 3, no. 2 (2002): 95–103. http://dx.doi.org/10.5860/rbm.3.2.209.

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Allow me to observe that the Executive Order of President Bush of November 1, 2001, blocking access to the records of Presidents Reagan and the first President Bush, in circumvention of the requirements of the Presidential Records Act of 1978; the dispute concerning the papers of Mayor Giuliani of New York; the suit by the General Accounting Office against Vice President Cheney because of his refusal to provide names of the persons who took part in his secret Energy Task Force meetings; and the controversy over the decision by Governor Bush of Texas to send his records as governor not . . .

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47

Pavone-Macaluso, M., J. Montie, V. Serretta, et al. "Complications in radical cystectomy and their prevention." Urologia Journal 62, no. 4 (1995): 518–39. http://dx.doi.org/10.1177/039156039506200402.

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We wish to dedicate this review article on radical cystectomy, its complications and their prevention to the memory of Prof. Luciano Giuliani. The article is based on a work written originally by Jim Montie and many other authors for the consensus meeting on bladder cancer held in Antwerp in 1994 and recently published in a booklet entitled “Global strategy for bladder cancer” (1). With the consent of Montie and the other co-authors, we have prepared on updated Italian version, inserting some parts (such as vascular complications) which were treated more superficially in the preliminary text.

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48

Scarduelli, Fabio. "Le Rossiniane op.121 (n.3) para violão de Mauro Giuliani: considerações sobre a construção da performance." Revista Vórtex 11, no. 1 (2023): 1–4. http://dx.doi.org/10.33871/23179937.2023.11.1.7070.

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Nossa pesquisa, cujo resultado é publicado aqui através de gravação áudio-visual e resumo do processo de preparação, situa-se na linha Música e Processos Criativos – performance. Teve como objetivo a preparação de uma obra específica – Le Rossiniane Op.121 (n.3) de Mauro Giuliani (1781-1829) – fundamentada em questões técnicas e estilísticas, baseadas sobretudo em Fernandez (2000), Brown (2002) e Zangari (2013). Teve como base metodológica as frentes bibliográfica, analítica e exploratória / autoetnografica. Para além do resultado artístico, desenvolveu reflexões a respeito de meios de abordagem de problemas específicos desse repertório desafiador no âmbito da técnica e do estilo de interpretação.

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49

Goddi, Federico. "L'Opera per l'assistenza ai profughi giuliani e dalmati: strategie politiche d'assistenzialismo (1948-1977)." MONDO CONTEMPORANEO, no. 3 (April 2020): 93–121. http://dx.doi.org/10.3280/mon2019-003003.

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50

Giberti, Claudio, Giuseppe Martorana, and Giorgio Carmignani. "The Giuliani muscle splitting and nerve-sparing anterolateral transabdominal approach to the kidney." Urology 47, no. 6 (1996): 911–14. http://dx.doi.org/10.1016/s0090-4295(96)00053-2.

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