1000 resultados para Laud, William, 1573-1645.


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Existem diferentes modos de se ler uma imagem e de interpretá-la. A partir dos gestos realizados pelo artista, podemos conduzir leitura estética, antropológica, cultural ou teológica, encontrando diferentes significados. Realizar a leitura dos gestos tem como objetivo conhecer não apenas as tradições nas quais foram concebidos, mas também a iniciação na prática visionária que os inspirou. Os gestos mais do que descrevem uma história; interpretam-na, dando-lhe um significado mais amplo. Nesta análise escolheu-se o artista Michelangelo Merisi da Caravaggio, tendo como objetivo considerar o simbolismo e a gestualidade existentes em sua produção. A observação da gestualidade nas obras deste artista, principalmente àquelas relacionadas a representação de São Mateus objeto de estudo, buscou implicações em relação ao conjunto compositivo, ao espectador e ao contexto histórico século XVII na Europa. Assim, procurou-se estabelecer para a obra do artista Caravaggio um alicerce na relação gestos/simbolismo, imagem/culto sendo sua compreensão feita a partir de inúmeros fatores visuais que conferem aos quadros caráter de poder e persuasão

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William Francis Thompson (1888–1965) was a preeminent fishery scientist of the early to mid twentieth century. Educated at Stanford University in California (B.A. 1911, Ph.D. 1930), Thompson conducted pioneering research on the Pacific halibut, Hippoglossus stenolepis, from 1914 to 1917 for the British Columbia Provincial Fisheries Department. He then directed marine fisheries research for the State of California from 1917 to 1924, was Director of Investigations for the International Fisheries Commission from 1924 to 1939, and Director of the International Pacific Salmon Fisheries Commission from 1937 to 1942. He was also Director of the School of Fisheries, University of Washing-ton, Seattle, from 1930 to 1947. Thompson was the founding director in 1947 of the Fisheries Research Institute at the University of Washington and served in that capacity until his retirement in 1958. He was a dominant figure in fisheries research of the Pacific Northwest and influenced a succession of fishery scientists with his yield-based analysis of fishery stocks, as opposed to studying the fishes’environment. Will Thompson was also a major figure in education, and many of his former students attained leadership positions in fisheries research and administration.

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William Francis Thompson (1888–1965), as a temporary employee of the British Columbia Provincial Fisheries Department, was assigned in 1914 to under-take full-time studies of the Pacific halibut, Hippoglossus stenolepis. The fishery was showing signs of depletion, so Thompson undertook the inquiry into this resource, the first intensive study on the Pacific halibut. Three years later, Thompson, working alone, had provided a basic foundation of knowledge for the subsequent management of this resource. He published seven land-mark papers on this species, and this work marked the first phase of a career in fisheries science that was to last nearly 50 years.

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William Francis Thompson (1888–1965), an early fishery biologist, joined the California Fish and Game Commission in 1917 with a mandate to investigate the marine fisheries of the state. He initiated studies on the albacore tuna, Thunnus alalunga, and the Pacific sardine, Sardinops sagax, as well as studies on other economically important marine organisms. Thompson built up a staff of fishery scientists, many of whom later attained considerable renown in their field, and he helped develop, and then direct, the commission’s first marine fisheries laboratory. During his tenure in California, he developed a personal philosophy of research that he outlined in several publications. Thompson based his approach on the yield-based analysis of the fisheries as opposed to large-scale environmental studies. He left the state agency in 1925 to direct the newly formed International Fisheries Commission (now the International Pacific Halibut Commission). William Thompson became a major figure in fisheries research in the United States, and particularly in the Pacific Northwest and Alaska, during the first half of the 20th cent

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William Francis Thompson (1888–1965), as a temporary employee of the British Columbia Provincial Fisheries Department, was assigned in 1914 to under-take full-time studies of the Pacific halibut, Hippoglossus stenolepis. The fishery was showing signs of depletion, so Thompson undertook the inquiry into this resource, the first intensive study on the Pacific halibut. Three years later, Thompson, working alone, had provided a basic foundation of knowledge for the subsequent management of this resource. He published seven land-mark papers on this species, and this work marked the first phase of a career in fisheries science that was to last nearly 50 years.

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William Hope Hodgson has generally been understood as the author of several atmospheric sea-horror stories and two powerful but flawed horror science fiction novels. There has been no substantial study analysing the historical and cultural context of his fiction or its place in the Gothic, horror, and science fiction literary traditions. Through analysing the theme of borderlands, this thesis contextualises Hodgson’s novels and short stories within these traditions and within late Victorian cultural discourse. Liminal other world realms, boundaries of corporeal monstrosity, and the imagined future of the world form key elements of Hodgson’s fiction, reflecting the currents of anxiety and optimism characterising fin-de-siècle British society. Hodgson’s early career as a sailor and his interest in body-building and physical culture colour his fiction. Fin-de-siècle discourses of evolution, entropy, spiritualism, psychical research, and the occult also influence his ideas. In The House on the Borderland (1908) and The Night Land (1912), the known world brushes against other forms of reality, exposing humanity to incomprehensible horrors. In The Ghost Pirates (1909), the sea forms a liminal region on the borderland of materiality and immateriality in which other world encounters can take place. In The Night Land and The Boats of the ‘Glen Carrig’ (1907), evolution gives rise to strange monstrous forms existing on the borderlines of species and identity. In Hodgson’s science fiction—The House on the Borderland and The Night Land—the future of the earth forms a temporal borderland of human existence shaped by fin-de-siècle fears of entropy and the heat-death of the sun. Alongside the work of other writers such as H. G. Wells and Arthur Machen, Hodgson’s four novels respond to the borderland discourses of the fin de siècle, better enabling us to understand the Gothic literature of the period as well as Hodgson’s position as a writer who offers a unique imaginative perspective on his contemporary culture.

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Sketch of the life of William Blanchard Towne.

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Memoriam.

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http://www.archive.org/details/earlypromotedame00coxwuoft