Early use of the reinforced concrete in the architecture of the Historicism in Austria–Hungary
Structural Concrete, EarlyView.Abstract The study examines the early incorporation of reinforced concrete in the architecture of Historicism in Austria–Hungary. Spanning the late 19th to early 20th centuries, the research illuminates the period's stylistic pluralism and the transformative impact of reinforced concrete.
Éva Lovra, Zoltán Bereczki
wiley +1 more source
Játéknyelv és interpretáció. A kortárs (zenés) színház alakzatainak feltáró elemzése = Theatrical Languages and Interpretation. The Analysis of Contemporary (Music) Theatre [PDF]
, 2010 A kutatás a kortárs színház némely különleges figyelemre méltó tendenciájának és azok előzményeinek rögzítését célozta a folyamatos elméleti és módszertani reflexió igényével.
Kékesi Kun, Árpád
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Robustness assessment of reinforced concrete structures for different failure scenarios
Structural Concrete, EarlyView.Abstract This study describes the robustness assessment of 3D reinforced concrete structures analyzing the response of the 2D frames in different design configurations and failure scenarios. The structures are characterized by both frames with wide beams and seismic‐resistant frames with deep beams.
E. Miceli +2 more
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TAXON, EarlyView.Abstract As presently circumscribed, the Paleotropical genus Tarenna, belonging to the tribe Pavetteae (Rubiaceae), comprises about 200 species and has its centres of diversity in tropical Asia and Africa. Previous molecular phylogenetic studies of the tribe revealed the polyphyly of Tarenna, suggesting that the genus needs to be recircumscribed ...
Petra De Block +3 more
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Transcript of GRAND OPÉRA, signed A. C., appearing in LE CHARIVARI, 15 mars 1836, pp.
Cler, Albert
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, 2006 In May 1856, less than a year after opening, Jacques Offenbach’s Théâtre des Bouffes-Parisiens mounted a production of Mozart’s Der Schauspieldirektor entitled L’Impresario.
Everist, Mark
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"Olympie" de Spontini, entre tragédie lyrique et grand opéra [PDF]
, 2011 Tout travail sur l'adaptation lyrique des œuvres littéraires a pour mérite d'attirer l'attention sur quelques titres oubliés de l'histoire de l'opéra, éclairés seulement par le nom illustre de l'écrivain qui en fournit la source. Le danger peut toutefois
Bara, Olivier
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International Journal of Urban and Regional Research, EarlyView.Abstract In this article we apply Wacquant's conceptualization of the ghetto to an analysis of interviews conducted with Roma people living in the state‐enforced camps of Turin, Italy. We illustrate how the elements characterizing a ghetto according to Wacquant (i.e.
Vincenzo Romania, Tommaso Bertazzo
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‘I, Me, Myself’: Selfhood and Melancholy in the Journals of Gertrude Savile (1697–1758)
Journal for Eighteenth-Century Studies, EarlyView.Abstract This article examines the journals of Gertrude Savile from 1727 in light of recent scholarship on early modern and eighteenth‐century melancholy. The concept had myriad associations with medicine, physiology, the imagination, and feeling, but questions remain about how melancholy during this period was considered by those outside the narrow ...
Daniel Beaumont
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Opéra-Comique: La Colombe, opéra en deux actes, paroles de MM. Jules Barbier et Michel Carré, musique de M. Ch. Gounod — Opéra: Reprise du Prophète — Théâtre-Lyrique: Le Sorcier, paroles et musique de Mme Anaïs Marcelli; les Dragées de Suzette, opéra en un acte, de M. Jules Barbier, musique de M. Hector Salomon — Débuts de Mme Ferdinand Sallard [Feuilleton du Journal des Débats] [PDF]
Transcript of OPÉRA-COMIQUE: LA COLOMBE, OPÉRA EN DEUX ACTES, PAROLES DE MM. JULES BARBIER ET MICHEL CARRÉ, MUSIQUE DE M. CH. GOUNOD - OPÉRA: REPRISE DU PROPHÈTE - THÉÂTRE-LYRIQUE: LE SORCIER, PAROLES ET MUSIQUE DE MME ANAÏS MARCELLI; LES DRAGÉES DE ...
Ortigue, Joseph d'
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