1000 resultados para Gisalberti, Andreas.


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Mode of access: Internet.

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OBJECTIVETo compare the development of diabetes mellitus in subjects with and without the sign of the Cross of Andreas in the iris over a period of four years.METHODA prospective, descriptive study of quantitative approach. This cohort study had 91 patients without the disease, with and without the signal. The monitoring was conducted by means of the records in medical charts.RESULTSAt the end of the research, 28.2% of the group with the sign of the Cross of Andreas was diagnosed with diabetes and 56.5% had two or more episodes of impaired glucose tolerance. In the group without the sign, 4.4% was diagnosed with the disease and 24.5% had two or more episodes of glucose intolerance. There was a statistically significant difference between the groups regarding the development of the disease and glucose intolerance.CONCLUSIONThe group with the Cross of Andreas developed more glucose intolerance and diabetes than the group without the sign.

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The title of this brief article quite clearly illustrates its aims and evident limitations. In principle, a search for a Greek basis of the misogynist content of Andreas Capellanus's De amore is likely to lead researchers to focus on analysis of the sources -Greek sources, of course. However, there is no doubt that Ovid, the most frequently quoted ancient author, in this case the structural source, above all his Ars Amatoria, Remedia Amoris and Heroides, which is quite logical in light of the remarkable presence and influence of Ovid's works throughout that time. There was also a good knowledge of the works of Cicero, Virgil, Horace and Juvenal. However, other classical authors, even the Greeks -those who were known then-, were undoubtedly read in the schools, but the knowledge of their works was certainly superficial. Furthermore, given the scholastic method followed in De amore, it would be absurd not to consider the use of many quotations that appeared in the Compendia and in handbooks of religious instruction.

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Sitôt inventée, la photographie fut exploitée comme outil d'observation et d'archivage des monuments, des paysages, des types humains ou encore des oeuvres d'art. Dans ce cadre, furent fréquemment adoptées des procédures de prise de vue strictes, paraissant à même d'assurer le caractère fiable et exploitable des représentations obtenues. À la période contemporaine, de façon récurrente, la photographie se trouve encore associée à des protocoles fixés au préalable ; ceux-ci sont établis à des fins variées et selon des modalités diversifiées. On peut parler de « protocole » dès lors que le photographe choisit consciemment d'observer lors de la prise de vue un certain nombre de règles (découlant ou non de la technique photographique) dont il fait explicitement un mode opératoire. Cet ouvrage tente d'explorer les causes et les enjeux de cette combinaison récurrente de la photographie avec une procédure préétablie.