Petri Simonis Aprilei ... De lingua latina vel De arte grammatica libri quatuor ... ; adiectus est in fine liber De arte poëtici ...

Mode of access: Internet.

Dell'uso e dei pregi della lingua italiana libri tre con guinta ...

Mode of access: Internet.

Storia della letteratura italiana dall'origine della lingua sino a'nostri giorni. Emendata ed accresciuta in questa nuova edizione colla storia dei primi trentadue anni del secolo XIX.

Mode of access: Internet.

Dell'uso e dei pregi della lingua italiana,

Mode of access: Internet.

Esemplare del disegno in gratia dei principianti nell' arte della pitura et scultura [graphic] /

Plates [25] and [26] etched, remainder engraved.

Il chirurgo-raccoglitore moderno, che assiste le donne nei parti, secondo il metodo dei piu celebri professori dell'arte ostetricia ... Opera utilissima e necessaria per i chirurghi-raccoglitori /

Mode of access: Internet.

Il chirurgo-raccoglitore moderno, che assiste le donne nei parti, secondo il metodo dei piu celebri professori dell'arte ostetricia ... Opera utilissima e necessaria per i chirurghi-raccoglitori /

Mode of access: Internet.

L' infermiere in pratica sopra la cura di tutti li morbi del corpo umano overo Compendio di arte medica diviso in cinque parti ... /

Mode of access: Internet.

Petri Simonis Aprilei ... De lingua latina vel De arte gra[m]matica libri quatuor ... ; adiectus est in fine liber De arte poetica ...

Mode of access: Internet.

Teatro italiano scelto : commedie di Carlo Goldoni, Albergati Capacelli, Giovanni Giraud ed Alberto Nota, scelte ad uso degli studiosi della lingua italiana. --

Goldoni, C. Le smanie per la villeggiatura. Le avventure della villeggiatura. Il padre di famiglia.--Albergati Capacelli, F. La tarantola.--Giraud, G. L'ajo nell'imbarazzo.--Nota, A. Il nuovo ricco.

As inter-ações entre espaço do corpo e o movimento dançado

This dissertation seeks to reflect about the relations between danced movement and body space (Kinesphere), and their contributions to the expansion of the expressive possibilities of the subject on dancing. According to Rudolf Laban there is no space that is empty, because it is always being modified and signified at every moment by the movement. Space exists because we interact with it, at the same time movement occours configuring a signifcant space that is incessantly transformed. In this sense, space, body and movement appear in this research as interconnected and interdependent. For this discussion we have as main interlocutor the studies of Rudolf Laban. The nature of this research is qualitative and descriptive. This is a context that embraces the phenomenon of dance and as such it is based on a dimension that doesn't deal with mensurability, but with the art scene, fruitful in its infinite openness to the creation of multiple significances for what has been lived. We also propose to present a report about the practical study developed in the discipline Coreologia in the licentiate course of Dance in UFRN, as well as the analysis of the interviews applied to students of this curricular component. The questions were developed in a way that lead to a reflection about the experience of those interviewed in this discipline, thus generating material for us to discuss how the students perceive dance based on the relational study between space and movement. We realize that this study may favor an understanding of the relations that the experienced movement in the act of the dance weaves along the spatiality that receives and fills our bodies, resignifying the vision of a space which is restrict to the mere place were the body moves and occupies. It also favors the reflections concerning the body that moves and creates spatiality when dancing, thereby bringing to the Performing Arts a chance to think and to experience on the expansion of the expressive gesture in dance and beyond it, led by the recognition of the principles that organize human movement pointed by Laban. It also contributes on the formation of the students in licentiate courses of Dance by questioning the ways to appropriate the contents worked in a graduation discipline as regards to the availability of the body for dance. This dissertation is divided in three parts, called Impulsos. In the First Impulso: “Primeiros Gestos Textuais”, we find an introduction to concepts and ideas of body, movement and space that permeates all the work. In the Second Impulso: "Nós", the triad body-space-motion is discussed using the metaphorical image of a knot that binds these three concepts. The third and final Impulso: "Enlaces" deal with impressions and discoveries lived during the experimentation of the principles of inter-actions studied here, in the lessons of the already mentioned discipline

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.

Integrazione delle infrastrutture di ricarica dei veicoli elettrici nelle reti di distribuzione dell'energia elettrica

La tesi tratta le tecniche Vehicle-to-Grid (V2G) per l'interfacciamento deli sistemi di ricarica dei veicoli elettrici alla rete. Si analizzano le problematiche che una connessione non controllata può causare e come si può risolvere questo problema. Segue un'analisi dei servizi ausiliari che il sistema V2G è in grado di fornire alla rete di distribuzione e la presentazione di una strategia di regolazione della tensione e della frequenza (SFVR). Infine viene mostrata l'applicazione del sistema V2G che si può ottenere integrando la struttura di ricarica di un veicolo elettrico all'impianto elettrico domestico.

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas