Search results for 'Jeffery L. Painter' (try it on Scholar)

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  1. Gary H. Merrill, Patrick B. Ryan & Jeffery L. Painter (2008). Using SNOMED to Normalize and Aggregate Drug References in the SafetyWorks Observational Pharmacovigilance Project. Idamap (Intelligent Data Analysis in Medicine and Pharmacology.score: 870.0
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  2. Daniel Dombrowski, Don Garrett, Stanley Hauerwas, Sheridan L. Hough, Hugh LaFollette, Ariela Lazar, S. E. Marshall, Corinne M. Painter, Rosamond Rhodes & Mary Anne Warren (2002). Book Notes. [REVIEW] Ethics 112 (3):651-657.score: 240.0
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  3. Corinne Painter (1998). L'esperienza Dell'istante. Review of Metaphysics 52 (1):135-137.score: 240.0
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  4. F. R. Serra Ridgway (1989). Etruscan Vases Birgitte Ginge: Ceramiche Etrusche a Figure Nere. (Archaeologica 72: Materiali Del Museo Archeologico Nazionale di Tarquinia, 12.) Pp. 117; 105 Plates. Rome: Bretschneider, 1987. Paper, L. 250,000. Nigel Jonathan Spivey: The Micali Painter and His Followers. (Oxford Monographs on Classical Archaeology.) Pp. Xv + 103; 19 Figures; 40 Plates. Oxford: Clarendon Press, 1987. £30. [REVIEW] The Classical Review 39 (02):341-344.score: 72.0
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  5. Stephen Jay Gould, The Confusion Over Evolution.score: 24.0
    l i ver Cromwell delivered history's most famous rebuke to the heroworshiping that irons all subtlety into flawless cardboard: Mr. Lely, I desire you would use all your skill to paint my picture truly like me, and not flatter me at al l ; but remark all these roughnesses, pimples, warts, and everything as you see me, otherwise I will never pay a farthing for it. Helena Cronin, in The Ant and the Peacock , displays a raw talent clearly equal (...)
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  6. Wiebke‑Marie Stock (forthcoming). Peintres et sculpteurs de l'âme dans la philosophie de l'Antiquité tardive païenne et chrétienne. Chôra 9:149-167.score: 24.0
    The epimeleia tês psyches, that is, the formation and purification of the soul, is an important topic in Ancient Philosophy. As the soul is immaterial it can be difficult to understand what is meant by the idea of a formation of the soul. Many philosophers in Antiquity try to explain the meaning of the formation of the soul by using linguistic imagery, that is, similes, metaphors and myths. In this paper some of these images, in particular, the images of the (...)
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  7. L. P. Hartman & M. Painter-Morland (2007). Exploring the Global Reporting Initiative (GRI) Guidelines as a Model for Triple Bottom-Line Reporting. African Journal of Business Ethics 2 (1):45.score: 24.0
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  8. Henrik Lübker (2012). The Method of In-Between in the Grotesque and the Works of Leif Lage. Continent 2 (3):170-181.score: 24.0
    “Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...)
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  9. Zahra Newby (2001). L. Richardson: A Catalog of Identifiable Figure Painters of Ancient Pompeii, Herculaneum, and Stabiae . Pp. Xvii + 190. Baltimore and London: The Johns Hopkins University Press, 2000. Cased, £38.50. ISBN: 0-8018-6235-. [REVIEW] The Classical Review 51 (02):449-.score: 24.0
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  10. M. Painter-Morland & L. J. Spence (2009). Introduction: Business Ethics in Small and Medium Enterprises. African Journal of Business Ethics 4 (2):1.score: 24.0
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  11. T. B. L. Webster (1947). Attic Potters J. D. Beazley: Potter and Painter in Ancient Athens. Pp. 43; 8 Plates. London: Oxford University Press, 1945. Paper, 7s. 6d. Net. [REVIEW] The Classical Review 61 (01):25-26.score: 24.0
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  12. Ludmila Bejenaru & Vladlen Babcinetchi (2005). L'icône russe. Cultura 2 (2):91-100.score: 24.0
    The Russian icon was always related to the soul of the Russian painter, his anxiety and his emotions. Through the icon the russian has always expressed his faith and mentained the bundle with God. The icon has been considered by the russian people a bridge between human and divinity. The Russian people belive into an russian Christ. The Russian icon embodys the russian nature, his strength of creation and of adaption, but especially the russian soul. It is been capitalized (...)
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  13. Takashi Kakuni (2010). Le Corps Aux Limites de La Représentation (French). Chiasmi International 12:203-215.score: 24.0
    The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution (...)
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  14. Martin Robertson & L. Burn (1990). The Meidias Painter. Journal of Hellenic Studies 110:269.score: 24.0
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  15. Olaf L. Müller (2009). Colour Spectral Counterpoints. Case Study on Aestetic Judgement in the Experimental Sciences. In Ingo Nussbaumer & Galerie Hubert Winter (eds.), Restraint versus Intervention: Painting as Alignment. Verlag für moderne Kunst.score: 12.0
    When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...)
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  16. Leonard Lawlor (2012). D'autres questions. Le moyen de sortir de la situation philosophique actuelle (via Merleau-Ponty). Chiasmi International 14:337-348.score: 8.0
    Further Questions. A Way Out of the Present Philosophical Situation(via Merleau-Ponty)This essay contains a short analysis of Merleau-Ponty’s Eye and Mind. The analysis focuses on the final pages of Eye and Mind, in which Merleau-Ponty speaks of a false imaginary. It is through this consideration of the “false imaginary” that we can determine Merleau-Ponty’s contribution to the idea of overcoming metaphysics, that is, the transformation of who we are, from manipulandum to being, all of us, painters. More generally however, the (...)
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  17. Brett W. Schultz (2011). Gonzo Strategies of Deceit: An Interview with Joaquin Segura. Continent 1 (2):117-124.score: 8.0
    Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...)
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  18. T. B. L. W. & J. D. Beazley (1942). Attic Red-Figure Vase-Painters. Journal of Hellenic Studies 62:98.score: 8.0
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  19. T. B. L. Webster (1964). Red-Figure Painters J. D. Beazley. Attic Red-Figure Vase-Painters. Revised Edition. Three Vols. Pp. Lvi + 2036. Oxford: Clarendon Press, 1963. Cloth, £21. Net. [REVIEW] The Classical Review 14 (03):320-323.score: 8.0
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  20. Ray Desmond, Christine Ellwood & G. L'E. Turner (1995). Dictionary of British & Irish Botanists and Horticulturists, Including Plant Collectors, Flower Painters and Garden Designers. Annals of Science 52 (4):415.score: 8.0
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  21. James L. Foy (1970). Psychotic Painting and Psychotic Painters. In. In Erwin W. Straus & Richard Marion Griffith (eds.), Aisthesis and Aesthetics. Pittsburgh, Pa.,Duquesne University Press.score: 8.0
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  22. Carolyn Korsmeyer (2004). Gender and Aesthetics: An Introduction. Routledge.score: 6.0
    Feminist approaches to art are extremely influential and widely studied across a variety of disciplines, including art theory, cultural and visual studies, and philosophy. Gender and Aesthetics is an introduction to the major theories and thinkers within art and aesthetics from a philosophical perspective, carefully introducing and examining the role that gender plays in forming ideas about art. It is ideal for anyone coming to the topic for the first time. Organized thematically, the book introduces in clear language the most (...)
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