Search results for "Gust"

showing 10 items of 552 documents

Gustav Mahler. Canti del dolore e del commiato

2002

Nel 1901 Gustav Mahler si accosta per la prima volta alle poesie di Friedrich Rueckert, che utilizza in varie composizioni, ma soprattutto nel ciclo dei "Kindertotenlieder" (Canti funebri per i fanciulli). Il saggio si concentra sulla genesi di questo ciclo liederistico, analizzandone alcuni degli aspetti di maggiore rilievo, anche sul piano del rapporto fra la musica e il testo.

Vienna Musica Gustav Mahler Friedrich Rueckert Kindertotenlieder Canti funebri per i fanciulli.Settore L-ART/07 - Musicologia E Storia Della MusicaWien Music Gustav Mahler Friedrich Rueckert Kindertotenlieder.
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Recensione al volume di M. Labate, G. Rosati (eds.), La costruzione del mito augusteo, (Bibliothek der klassischen Al- tertumswissenschaften, Neue Fo…

2013

Virgilio Augusto mito augusteo nascita formazione e sviluppo.
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The assessment of multicultural strength: Design and validation of an Openness to the Other Affective Domain Inventory

2014

The classification of character strengths and virtues by Peterson and Seligman (2004) includes 24 strengths and 6 virtues. Although the development of this classification was inspired by diverse cultural traditions, no one strength or virtue centrally focused on cultural aspects. Fowers and Davidov (2006) have proposed a new multicultural strength or virtue termed as openness to the other. We developed the Openness to the Other Affective Domain Inventory (OADI), a new 6-item measurement instrument to assess affective attraction to the other, that is, fascination with or attraction to culturally diverse others, and affective aversion to the other, that is, distrust of or disgust with cultura…

VirtueDistrustmedia_common.quotation_subjectMULTICULTURALISMPOSITIVE PSYCHOLOGYDisgustConfirmatory factor analysisPsicologíaCIENCIAS SOCIALESConvergent validityCultural diversityOpenness to experienceTEST CONSTRUCTIONPositive psychologyPsychologySocial psychologyApplied Psychologymedia_common
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La dégustation du vin : Un acte expérientiel et identitaire entre théâtralisation et culturalisation

2015

The cultural discourse surrounding wine tasting has both a pragmatic and a cognitive function, and it gives rise to several representations and argumentations. How is it possible to communicate various approaches to wine to new generations, university students and adults? How can they build their own reference tables and their own representations of “good wines”? These questions highlight the subjective nature of wine appreciation and representation, also recalling the strong link existing between the preservation and transfer of a specific imaginary surrounding food and the essential role played by cultural and theatrical processes.

Vocabulaire[SHS.SOCIO]Humanities and Social Sciences/Sociology[ SHS.HIST ] Humanities and Social Sciences/History[SHS.SOCIO] Humanities and Social Sciences/Sociology[SHS.INFO]Humanities and Social Sciences/Library and information sciences[SHS.EDU]Humanities and Social Sciences/Education[SHS.EDU] Humanities and Social Sciences/Education[ SHS.EDU ] Humanities and Social Sciences/Education[ SHS.SOCIO ] Humanities and Social Sciences/Sociology[SHS.INFO] Humanities and Social Sciences/Library and information sciencesEducation[SHS.HIST] Humanities and Social Sciences/HistoryDiscoursVin[ SHS.INFO ] Humanities and Social Sciences/Library and information sciencesdégustation[SHS.HIST]Humanities and Social Sciences/History
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Bach fra le stelle

2014

Il testo costituisce la postfazione del volume di Ramin Bahrami "Il suono dell'Occidente. Le opere musicali che hanno fatto la nostra civiltà" (Mondadori 2014) e prende le mosse dal concetto di "Enciclopedia" per tracciare una riflessione storico-musicologica sulle 14 composizioni che Ramin Bahrami ssume quali imprescindibili punti di riferimento per una visione d'insieme della cultura musicale occidentale: da Monteverdi fino a Schoenberg, passando per Vivaldi, Bach, Wagner, Verdi, Mahler, Rakhmaninov e Stravnsky.

Voyager 1 Goden Record Carl Sagan.Caludio Monteverdi (L'Orfeo) Antonio Vivaldi (Le quattro stagioni) Johann Sebastian Bach (Messa in si minore) Giuseppe Verdi (Requiem) Richard Wagner (Tristan und Isolde) Johannes Brahms (Ein deutsches Requiem) Gustav Mahler (Sinfonia n. 1 "Il titano") Sergej Rakhmaninov (Concerto n. 2 per pianoforte e orchestra) Igor Strawinsky (La Sagra della primavera)Caludio Monteverdi (L'Orfeo) Antonio Vivaldi (The Four Seasons) Johann Sebastian Bach (Messa in H moll) Giuseppe Verdi (Requiem) Richard Wagner (Tristan und isolde) Johannes Brahms (Ein deutsches Requiem) Gustav Mahler (Sinfonia n. 1 "The Titan") Sergej Rakhmaninov (Piano-Concerto n. 2) Igor Strawinsky (The Rite of Spring)Musica Ramin BahramiSettore L-ART/07 - Musicologia E Storia Della MusicaClassical music Ramin Bahrami
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Profesors Vilhelms Burkēvics - Latvijas Universitātes rektora pienākumu izpildītājs

2017

Raksts iekļauts LU Bibliotēkas veidotajā virtuālajā izstādē "Pēc diviem mirkļiem 100 gadi: rektoru galerija."

Vēsture - Latvijas UniversitāteLatvijas Inženieru biedrībaToronto Latviešu tautas augstskolaAugusts Ķešāns:SOCIAL SCIENCES [Research Subject Categories]Rektori - Latvijas UniversitāteKorporācija "Fraternitas Vanenica"Zinātnes vēsture - Latvija
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Moyen Âge : entre ordre et désordre

2004

La musique tient une place toute particulière dans la civilisation de l'Occident médiéval. Elle est à la fois le reflet immatériel de l'harmonie du monde supraterrestre et le fruit de l'activité musicale des hommes. Dans les deux cas, elle ordonne, règle, accorde. Elle reflète, exprime et installe un ordre qui dépasse l'homme et s'inscrit au plus profond de sa chair : de la musique des sphères aux pulsations vitales des organismes les plus primitifs, la musique irrigue le monde créé et le transcende. Il n'est pas surprenant dans ces conditions que les commanditaires et les artistes médiévaux aient eu recours si abondamment à la représentation figurée pour exprimer leur vision de la musique.…

Wisdomarts libérauxCarolingiensrationalitySagessemusic theorycosmologieMedieval cosmologysaint Augustin[SHS.MUSIQ] Humanities and Social Sciences/Musicology and performing artsBoèce[SHS.HIST] Humanities and Social Sciences/HistoryLiberal ArtsrationalitéBoethiusmusiqueesthétique
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Satyra na Augusta Zaleskiego, czyli o sporze Wojciecha Wasiutyńskiego z "Syreną" paryską

2017

In 1949 the Parisian weekly Syrena published an anonymous satire on President August Zaleski. As it later turned out, it was written by Wojciech Wasiutyński, a well-known journalist and activist of the Stronnictwo Narodowe (National Party). Wasiutyński was not informed about the decision to publish his text and was outraged, demanding compensation. The editorial team explained that the anonymous copies of the satire had circulated among Polish immigrants. The issue echoed a far more significant debate concerning the office of the President of Poland in exile.

Wojciech Wasiutyński; August Zaleski; the Syrena weekly; the conflict concerning the office of the President of Poland in exileArchiwum Emigracji
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Sublime, corsetti, e ragtime. Woody Allen e Gustav Mahler

2022

L'articolo esamina la relazione tra la musica di Mahler e il cinema nel caso di Woody Allen. Come è noto, nei suoi film il regista statunitense mette in primo piano la musica in molti modi. Ad esempio in "Un'altra donna" (1988) la Sinfonia n. 4 gioca un importante ruolo intra-diegetico che va oltre la semplice funzione informativa relativa all'ambiente sociale della protagonista. La musica di Mahler compare anche in altri film, ma in prospettiva più ampia agisce da elemento focale nella poetica di Allen. Attraverso l'analisi di alcune scene, si approfondisce la natura del rapporto tra Allen e Mahler e in che senso tale rapporto costituisce un caso assolutamente positivo di "ricezione mahler…

Woody AllenFilm MusicSettore L-ART/07 - Musicologia E Storia Della MusicaGustav MahlerSoundtrack
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Mahler and Film: The Case of Woody Allen

2013

This paper will examine the relationship between Mahler and ‘moving image’ in the case of Woody Allen. As we know, the American director has a long-standing love affair with classical music. His films foreground music in many and interesting ways. One example can be found in "Another Woman" (1988). Here the Symphony No. 4 by Mahler plays an intra-diegetic role, but it goes beyond the simple ‘informative function’ about the social milieu of the main character. Mahler’s music appears also in other films, but in a wider perspective it operates as a focal point of most of Allen’s filmography. Through the comparative analysis between emblematic scenes, I’ll try to explain the particular nature o…

Woody AllenSettore L-ART/07 - Musicologia E Storia Della MusicaMahlercolonna sonorafilmGustav Mahler
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