Results for 'Michelangelo Biondo'

174 found
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  1.  8
    Attachment and Concord of Temporal Adverbs: Evidence From Eye Movements.Nicoletta Biondo, Francesco Vespignani & Brian Dillon - 2019 - Frontiers in Psychology 10.
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  2.  3
    Effects of Dance Movement Therapy and Dance on Health-Related Psychological Outcomes. A Meta-Analysis Update.Sabine C. Koch, Roxana F. F. Riege, Katharina Tisborn, Jacelyn Biondo, Lily Martin & Andreas Beelmann - 2019 - Frontiers in Psychology 10.
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  3.  26
    Two Types of Liberal Perfectionism.Francesco Biondo - 2005 - Ratio Juris 18 (4):519-535.
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  4.  7
    ¿Qué podemos pedir a una teoría de la justicia? Algunas consideraciones acerca de un debate entre Amartya Sen y John Rawls.Francesco Biondo - 2010 - Isegoría 42:183-197.
    En este trabajo intento exponer las tesis de Sen sobre las características que demandamos a una teoría satisfactoria de la justicia, y sus críticas al modelo «trascendental» de teoría, que según él es lo que Rawls persigue. Según Sen, este modelo es inaceptable por ser inalcanzable e innecesario; lo que en nuestra práctica argumentativa intentamos lograr son juicios comparativos entre situaciones reales, y no sistemas completos de proposiciones acerca de ideales de la sociedad justa. Intentaré argumentar que el enfoque metaético (...)
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  5. Sobre la concepción constructivista de la ciudadanía europea (y sus límites).Francesco Biondo - 2009 - Astrolabio: Revista Internacional de Filosofía 9:25-34.
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  6.  3
    Der Bildner des Übermenschen und der dithyrambische Künstler: Michelangelo und Wagner in Also sprach Zarathustra.Vivetta Vivarelli - 2018 - Nietzsche Studien Gesamtregister Bände 1-20 47 (1):326-339.
    The Sculptor of the Overman and the Dithyrambic Artist: Michelangelo and Wagner in Thus Spoke Zarathustra. This paper draws on the work of Mazzino Montinari in order to explore the relations between Nietzsche’s image of Michelangelo and specific elements of Thus Spoke Zarathustra. These elements concern the idea of the overman and the figure which is sleeping in the stone. A biography of Michelangelo by the art historian Herman Grimm, a correspondent of Ralph Waldo Emerson, may be (...)
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  7.  12
    Ut pictura poesis: uma interpretação profética e poética da obra de Michelangelo - DOI: 10.5752/P.2175-5841.2012v10n25p75. [REVIEW]Flávia Vieira da Silva do Amparo - 2012 - Horizonte 10 (25):75-92.
    A poesia, em seu sentido mais amplo, surge como ponto de partida para todos os conhecimentos acerca do homem e do mundo. Assim, o poeta não é apenas um artista que produz versos, mas o que busca uma intermediação entre o humano e o divino. Este artigo tem como proposta estudar a poesia e a arte de Michelangelo Buonarroti a partir do conceito de “Figura”, definido na obra de Auerbach, analisando o poético na obra do artista italiano a partir (...)
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  8.  45
    Neural Concept Formation & Art Dante, Michelangelo, Wagner Something, and Indeed the Ultimate Thing, Must Be Left Over for the Mind to Do.Semir Zeki - 2002 - Journal of Consciousness Studies 9 (3):53-76.
    What is art? What constitutes great art? Why do we value art so much and why has it been such a conspicuous feature of all human societies? These questions have been discussed at length though without satisfactory resolution. This is not surprising. Such discussions are usually held without reference to the brain, through which all art is conceived, executed and appreciated. Art has a biological basis. It is a human activity and, like all human activities, including morality, law and religion, (...)
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  9.  56
    Michelangelo, Leibniz and the Serpentine Figure.Van Tuinen Sjoerd - 2011 - Deleuze and Guatarri Studies 5 (1):63-72.
    In his lectures from 1987, Deleuze draws an analogy between Michelangelo's figures and Leibnizian substances by claiming that neither are essences but rather sources of modifications or manners of being. The best way to explore this analogy, I argue, is by focusing on Michelangelo's preference for serpentine shapes. By putting key passages from The Logic of Sensation, The Fold: Leibniz and the Baroque and What is Philosophy? in resonance with the Leibnizian accounts of corporeal aggregates and possible worlds (...)
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  10.  12
    Michelangelo’s Puzzle.Giuseppe Spolaore & Pierdaniele Giaretta - 2018 - Philosophia 46 (2):453-464.
    Michelangelo thought that stone statues pre-exist their sculptors’ performance. Michelangelo’s view gives rise to a puzzle, which we call Michelangelo’s puzzle. Michelangelo’s puzzle looks structurally similar to so-called problems of material constitution ; so it is tempting to suppose that it can be similarly accounted for. This paper argues that the supposition is misguided. Michelangelo’s puzzle raises specific problems, which cannot be adequately dealt with unless one is prepared to give up either the natural view (...)
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  11.  21
    The Line of Fate in Michelangelo's Painting.Leo Steinberg - 1980 - Critical Inquiry 6 (3):411-454.
    Let us agree, to begin with, that we are not shown [in Last Judgment], as Life Magazine long ago phrased it, a Saint Bartholomew who "holds his own mortal skin, in which Michelangelo whimsically painted a distorted portrait of himself.”1 The face was sloughed with the rest of the skin and goes with it. What we see is a Saint Bartholomew with another's integument in his hand. We next consider an aspect of the self-portrait which even La Cava left (...)
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  12.  21
    Examining Semir Zekis Neural Concept Formation and Art: Dante, Michelangelo, Wagner.Amy Ione - 2003 - Journal of Consciousness Studies 10 (2):58-66.
    In his paper, 'Neural Concept Formation and Art: Dante, Michelangelo, Wagner' Semir Zeki writes 'we can trace the origins of art to a fundamental characteristic of the brain, namely its capacity to form concepts' . He proposes that 'this capacity is itself the by-product of an essential characteristic of the brain. That characteristic is abstraction, and is imposed upon the brain by one of its chief functions, namely the acquisition of knowledge.' . Then, centring his argument around 'the ideal (...)
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  13.  3
    Michelangelo Pistoletto's Community of Limits.Gianmarco Visconti - 2014 - Constellations (University of Alberta Student Journal) 5 (1).
    This essay takes a look at the career of Italian artist Michelangelo Pistoletto during the 1960s, seeking to make connections between his work, Italy's shifting social atmosphere and the impetus of youth counterculture at the time. Through the formal analysis of Pistoletto's paintings, sculptures, and performances, the paper culminates in a discussion of the meaning of community and its value in an industrialized world.
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  14.  5
    Michelangelo i novoplatonizam u renesansnoj umjetnosti – s osvrtom na svod Sikstinske kapele i Mojsija.Marko Tokić - 2010 - Filozofska Istrazivanja 30 (1-2):33-60.
    U radu iznosimo shvaćanje da je novoplatonizam u Michelangelovom kiparstvu prisutan na dublji način nego li to shvaćaju oni koji u Michelangelovoj umjetnosti iznalaze tek simboličku ilustraciju određenog novoplatoničkog učenja. Novoplatonizam u Michelangelovoj skulpturi ne vidimo kao simboliku koja upućuje na određenu novoplatoničku teoriju. U tom bismo slučaju o novoplatonizmu u umjetnosti govorili kao o onome izvanjskom s obzirom na bit umjetničkog djela, budući da se samo nastajanje i jestvo umjetničkog djela ne temelji u postupku teorijskog razmatranja, već u rukotvorenju. (...)
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  15. Michelangelo's Christian Mysticism: Spirituality, Poetry and Art in Sixteenth-Century Italy.Sarah Rolfe Prodan - 2014 - Cambridge University Press.
    In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an Augustinian (...)
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  16. Mysterium Magnum: Michelangelo's Tondo Doni.Regina Stefaniak - 2008 - Brill.
    Drawing on the fifteenth century theology of Saint Joseph, classical visual sources, Ficino’s commentary on the _Phaedrus_ and _Symposium_, and Dante’s _rime petrose_, this book interprets Michelangelo’s Tondo Doni as a model of Ephesians’ ‘great sacrament’ of marriage for the new Florentine republic.
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  17.  10
    Michelangelo's Finger: An Exploration of Everyday Transcendence.Raymond Tallis - 2010 - Yale University Press.
    How to point : a primer for Martians -- What it takes to be a pointer -- Do animals get the point? -- People who don't point -- Pinning language to the world -- Pointing and power -- Assisted pointing and pointing by proxy -- The transcendent animal : pointing and the beyond.
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  18. Michelangelo's Designs for the Medici Tombs.Johannes Wilde - 1955 - Journal of the Warburg and Courtauld Institutes 18 (1/2):54-66.
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  19.  4
    Le Bernin Et Michel-AngeBernini and Michelangelo. A Eucharistic Reading of the Cornaro Chapel’s Bel Com­Posto.Hélène Gaudin Mazzariol - 2019 - Revue des Sciences Religieuses 93:225-255.
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  20.  1
    Renaissance Architecture - (D.) Hemsoll Emulating Antiquity. Renaissance Buildings From Brunelleschi to Michelangelo. Pp. 352, B/W & Colour Ills. New Haven and London: Yale University Press, 2019. Cased, £55, Us$75. Isbn: 978-0-300-22576-1. [REVIEW]Deborah Howard - forthcoming - The Classical Review:1-3.
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  21. Freud, Structuralism, and "the Moses of Michelangelo".Gerald L. Bruns - 1974 - Journal of Aesthetics and Art Criticism 33 (1):13-18.
  22.  41
    Michelangelo’s Stone: An Argument Against Platonism in Mathematics.Carlo Rovelli - 2017 - European Journal for Philosophy of Science 7 (2):285-297.
    If there is a ‘platonic world’ \ of mathematical facts, what does \ contain precisely? I observe that if \ is too large, it is uninteresting, because the value is in the selection, not in the totality; if it is smaller and interesting, it is not independent of us. Both alternatives challenge mathematical platonism. I suggest that the universality of our mathematics may be a prejudice and illustrate contingent aspects of classical geometry, arithmetic and linear algebra, making the case that (...)
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  23.  34
    Augustine in the Italian Renaissance: Art and Philosophy From Petrarch to Michelangelo[REVIEW]Douglas Kries - 2006 - Augustinian Studies 37 (1):133-135.
  24.  20
    Michelangelo Picone, ed., La letteratura cavalleresca dalle “Chansons de geste” alla “Gerusalemme liberata.” Atti del II convegno internazionale di studi, Certaldo Alto, 21–23 giugno 2007. Pisa: Pacini, 2008. Paper. Pp. 327; black-and-white figures.€ 26. [REVIEW]Leslie Zarker Morgan - 2010 - Speculum 85 (2):453-454.
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  25.  21
    "Michelangelo's Pieta," Christianity and the Arts.Don Michael Hudson - 2001 - America's Guide to Christian Expresssion 8 (4):24.
    It was the summer of 1984, the American dollar was strong, and this was my first venture to Europe. I found her and didn't even know I was searching for her. Mysteriously she crossed my path one day in Rome. I should confess though- at this point in my life, I am an uneasy Protestant.
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  26.  45
    Michelangelo; A Biography, by George Bull.Linda Murray - 1998 - The Chesterton Review 24 (4):496-499.
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  27.  36
    How Not to Write the Biography of Michelangelo.Paul Barolsky - 2012 - Arion 20 (1):173-180.
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  28.  37
    Michelangelo’s Genesis: A Structuralist Interpretation of the Central Panels of the Sistine Chapel Ceiling.Edmund Leach - 1985 - Semiotica 56 (1-2):1-30.
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  29.  60
    Cupid Disarmed, or Venus Wounded? An Ovidian Source for Michelangelo and Bronzino.William Keach - 1978 - Journal of the Warburg and Courtauld Institutes 41:327-331.
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  30.  36
    Michelangelo the Sinner.Joseph Tusiani - 1964 - Thought: Fordham University Quarterly 39 (3):325-333.
  31.  57
    A Note on Michelangelo's Pieta in St. Peter's.Rudolf Wittkower - 1938 - Journal of the Warburg Institute 2 (1):80.
  32.  39
    Omnia Vincit Amor_: The Sovereignty of Love in Tuscan Poetry and Michelangelo's _Venus and Cupid.Rebekah Compton - 2012 - Mediaevalia 33 (33):229-260.
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  33.  28
    Schwarze Lichter? Bildlogische Operationen bei Michelangelo und Matisse.Wolfram Pichler - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):45-62.
    In certain artifacts, which can be classified as images, suspicious phenomena such as >black highlights color of light image vehicle image object _German_ In bestimmten Artefakten, die als >Bilder schwarze Glanzlichter Farbe des Lichts< übernimmt. Wer sich überzeugt hat, dass solche Erscheinungen tatsächlich nachweisbar sind, und herausbekommen möchte, durch welche Operationen sie hervorgebracht werden, sieht sich auf grundlegende bildtheoretische Unterscheidungen wie die Differenz zwischen Bildvehikel und Bildobjekt verwiesen.
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  34.  22
    Edoardo Amaldi. Da Via Panisperna All’America: I Fisici Italiani E la Seconda Guerra Mondial. Edited by, Giovanni Battimelli and Michelangelo De Mari. Foreword by, Ugo Amaldi. 198 Pp. Rome: Editori Riuniti, 1997. [REVIEW]Giorgio Salvini - 2005 - Isis 96 (2):295-295.
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  35.  11
    Michelangelo's Nose: A Myth and Its MakerWhy Mona Lisa Smiles and Other Tales by Vasari.David Carrier & Paul Barolsky - 1992 - Journal of Aesthetics and Art Criticism 50 (3):249.
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  36.  45
    Michelangelo and the Tomb of Pope Julius II.Sesto Prete - 1966 - Thought: Fordham University Quarterly 41 (4):508-522.
    The tragic story of the forty-year-long struggle of one of hte greatest artists of Western civilization to construct the tomb of Pope Julius II.
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  37.  3
    El Greco's Statements on Michelangelo the Painter.George A. Rodetis - 1997 - Journal of Aesthetic Education 31 (3):25.
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  38.  22
    Michelangelo: A Life on Paper. By Leonard Barkan.Bernadine Barnes - 2012 - The European Legacy 17 (6):836-837.
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  39.  20
    Desire and Discourse in Foucault: The Sign of the Fig Leaf in Michelangelo's David. [REVIEW]Kenneth Colburn - 1987 - Human Studies 10 (1):61-79.
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  40.  50
    A Lost Poem by Michelangelo?Anthony Hughes - 1981 - Journal of the Warburg and Courtauld Institutes 44:202-206.
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  41.  25
    Ethical Doxographers Michelangelo Giusta: I Dossogrqfi di Etica. Vol. i. (Università di Torino, Pubblicazioni della Facoltà di Lettere e Filosofia, vol. xv, fasc. 3.) Pp. 434. Turin: Giappichelli, 1964. Paper, L. 5,000. [REVIEW]G. B. Kerferd - 1967 - The Classical Review 17 (02):156-158.
  42.  34
    Michelangelo's Lost Sleeping Cupid and Fetti's Vertumnus and Pomona.Ruth Rubinstein - 1986 - Journal of the Warburg and Courtauld Institutes 49:257-259.
  43.  13
    "Vita nuova" e tradizione romanza. Michelangelo Picone.Joan M. Ferrante - 1982 - Speculum 57 (2):408-410.
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  44.  17
    Michelangelo and Neo-Platonism in Renaissance Art – Concerning the Sistine Chapel Ceiling and Moses.Marko Tokić - 2010 - Filozofska Istrazivanja 30 (1-2):33-60.
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  45.  18
    The Strange Case of the Young Michelangelo.Paul Barolsky - 2013 - Arion 21 (1):103-112.
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  46.  19
    Self Processes in Interdependent Relationships: Partner Affirmation and the Michelangelo Phenomenon.Caryl E. Rusbult, Madoka Kumashiro, Shevaun L. Stocker, Jeffrey L. Kirchner, Eli J. Finkel & Michael K. Coolsen - 2005 - Interaction Studies 6 (3):375-391.
  47.  18
    Copiar o Crear: La Postmodernidad Desde El Cine de Michelangelo Antonioni y Brian de Palma.Inmaculada Murcia Serrano - 2009 - Aisthesis 45.
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  48.  26
    Bramante, Michelangelo and the Sistine Ceiling.Charles Robertson - 1986 - Journal of the Warburg and Courtauld Institutes 49:91-105.
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  49.  8
    Michelangelo and the English Martyrs. By Anne Dillon. Pp. Xxvii, 356. Farnham, Surrey, Ashgate. 2012. £75.00. [REVIEW]Peter Milward - 2017 - Heythrop Journal 58 (3):488-490.
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  50.  10
    Iwan Michelangelo D’Aprile, Die Erfindung der Zeitgeschichte. Geschichtsschreibung und Journalismus zwischen Aufklärung und Vormärz. Mit einer Edition von 93 Briefen von Friedrich Buchholz an Johann Friedrich Cotta und Johann Georg Cotta, 1805-1833, Berli. [REVIEW]Franz Leander Fillafer - 2015 - Berichte Zur Wissenschaftsgeschichte 38 (2):187-188.
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