965 resultados para Panceri, Paolo, 1833-1877.


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Collection contains material pertaining to Molly Picon's career as an actress as well as some personal material. About half the collection consists of manuscript plays, primarily in Yiddish. Collection also includes manuscript song lyrics; songbooks and sheet music; radio and television scripts; programs and announcements from Picon's performances; Picon's correspondence, largely with her family and Jacob Kalich; photographs; and scrapbooks.

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Biographical articles; letter; photos (58 items)

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Materials pertaining to Julius Seligmann (born 1903 in Werden) and to his parents (?), Sigmund Seligmann (b. 1871) and Minna, née Oppenheimer (b. 1873)

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Parte 1 - Atos do Poder Legislativo

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Parte 1 - Atos do Poder Legislativo

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Nesta dissertação apresentamos uma análise da trajetória de Eusébio de Queirós no período em que ele ocupava o cargo de chefe de polícia da Corte (1833-1844), momento de grande turbulência social no Império, e consolidação das posições do Regresso Conservador. Mostramos como Eusébio de Queirós se precipitou sobre o "vazio" de atribuições que caracterizava a função de chefe de polícia, tornando-se um articulador da administração da justiça na Corte, após assumir a direção de uma Secretaria de Polícia da Corte com uma estrutura precária, em meio às discussões acerca do regime policial estabelecido com a adoção do Código de Processo Criminal de 1832. A ideia de que no compartilhamento da informação entre as autoridades estava a pedra angular da segurança pública foi uma constante na trajetória de Queirós, exemplificados na abordagem dada à Revolta dos Malês (1835) e às Revoltas Liberais de 1842. Esta pesquisa trabalha uma entre as possíveis caracterizações de Eusébio de Queirós, considerando as implicações de ordens biográfica e historiográfica, procurando problematizar por meio de uma trajetória específica aspectos que circundam o processo de construção do Estado nacional no Brasil.

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For study the genetic diversity of Caspian brown trout population in five rivers in the southern part of Caspian Sea in Iran 182 number generators in the fall and winter of 1390 were collected in Chalus, Sardab Rud, Cheshmeh Kileh, Kargan Rud and Astara rivers. Then about 3-5 g of soft and fresh tissue from the bottom fin fish removed and were fixed in ethanol 96°. Genomic DNA was extracted by using ammonium acetate, then quantity and quality of the extracted DNA were determined by using spectrophotometry and horizontal electrophoresis in 1% agarose gel. The polymerase chain reaction was performed by using 16 SSR primers and sequencing primers (D-Loop) and the quality of PCR products amplified by SSR method were performed by using horizontal electrophoresis in 2% agarose gel. Alleles and their sizes were determined by using vertical electrophoresis in 6% polyacrylamide gel and silver nitrate staining method. Gel images were recorded by gel documentarian, the bands were scored by using Photo- Capt software and statistical analysis was performed by using Gene Alex and Pop Gene software. Also the PCR sequencing products after quality assessment by usinghorizontal electrophoresis in 1.5% agarose gel were purified and sent to South Korea Bioneer Corporation for sequencing. Sequencing was performed by chain termination method and the statistical analysis was performed by using Bio- Edit, Mega, Arlequin and DNA SP software. The SSR method, 5 pairs of primers produced polymorphic bands and the average real and effective number of alleles were calculated 5.60±1.83 and 3.87±1.46 in the Cheshmeh Kileh river and 7.60±1.75 and 5.48±1.32 in the Karganrud river and the mean observed and expected heterozygosity were calculated 0.44 ±0.15 and 0.52 ±0.16 in the Cheshmeh Kileh river and 0.50 ±0.11 and 0.70±0.13 in the Karganrud river. Analysis of Molecular Variance results showed that significant differences in genetic diversity between and within populations and between and within individuals in the studied rivers (P<0.01). The sequencing method identified 35 different haplotype, the highest number of polymorphic position (251) and haplotype (14) were observed in the Chalus river. The highest mean observed number of alleles (2.24±0.48) was calculated in the Sardabrud river, the highest mean observed heterozygosity (1.00±0.03) was calculated in the Chalus river and the highest mean nucleotide diversity (0.13±0.07) was observed in the Sardabrud river and mean haplotype diversity was obtained (1) in three studied rivers. The overall results show that there are no same population of this fish in the studied rivers and Karganrud and Chalus rivers in the SSR and sequencing methods had the highest levels of genetic diversity.

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A new genus and new species of xanthid crab, Ovatis simplex, is described from the South China Sea. The genus is closest to Liagore but can be distinguished by a suite of carapace and male gonopod characters. The systematic position of Liagore is also considered, and both genera, Liagore and Ovatis, are here referred to the subfamily Xanthinae. Comparisons with the allied genera, Paratergatis and Pulcratis, are also provided.

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Wydział Historyczny: Instytut Historii

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This cultural history of Argentine crime fiction involves a comprehensive analysis of the literary and critical traditions within the genre, paying particular attention to the series of ‘aesthetic campaigns’ waged by Jorge Luis Borges and others during the period between 1933 and 1977. The methodological approach described in the introductory chapter builds upon the critical insight that in Argentina, generic discourse has consistently been the domain, not only of literary critics in the traditional mould, but also of prominent writers of fiction and specialists from other disciplines, effectively transcending the traditional tripartite ‘division of labour’ between writers, critics and readers. Chapter One charts the early development of crime fiction, and contextualises the evolution of the classical and hardboiled variants that were to provide a durable conceptual framework for discourse in the Argentine context. Chapter Two examines a number of pioneering early works by Argentine authors, before analysing Borges’ multi-faceted aesthetic campaign on behalf of the ‘classical’ detective story. Chapter Three examines a transitional period for the Argentine crime genre, book-ended by the three Vea y Lea magazine-sponsored detective story competitions that acted as a vital stimulus to innovation among Argentine writers. It includes a substantial treatment of the work of Rodolfo Walsh, documenting his transition from crime writer and anthologist to pioneer of the non-fiction novel and investigative journalism traditions. Chapter Four examines the period in which the novela negra came to achieve dominance in Argentina, in particular the aesthetic counter-campaigns conducted by Ricardo Piglia and others on behalf of the hard-boiled variant. The study concludes with a detailed analysis of Pablo Leonardo’s La mala guita (1976), which is considered as a paradigmatic example of crime fiction in Argentina in this period. The final chapter presents conclusions and a summary of the dissertation, and recommendations for further research.

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Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

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During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

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