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The Reformed exegete and theologian Peter Martyr Vermigli (1499--1562) was an unoriginal, but consistent thinker. Theological insights were not packaged separately from each other, but consistently linked together. In all his thought he sought to steer the middle course between theological extremes in taking what was good and rejecting what was bad from each. Typical of this tendency to steer the middle course are his insights into the outward instruments of divine grace. According to Vermigli such instruments---the human nature of Christ, the audible words of Scripture and the visible words of the Sacraments---should not be over-carnalized, nor over-spiritualized. Although God could work immediately (i.e. without instruments), he has chosen to work through these instruments for salvation. Hence, the inward spiritual power and the outward instrument must not be divorced from each other. The Spirit of God does not normally work without the outward instrument, nor can the outward instrument effect grace without the Spirit's power. / Modern scholarship has done much to define the sources of Vermigli's thought, but more needs to be said. The more Vermigli is studied, the more it is necessary to qualify characterizations of him. He is not a thinker who is easily pigeon-holed into a certain theological school or movement. As a well-educated biblical and humanistic scholar, Vermigli took independent and well-reasoned positions on the whole variety of theological questions current in his day. As such, this study attempts to view the inter-connected nature of Vermigli's thought so as to gain a better view of the whole of his thought.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T21:44:44Z (GMT). No. of bitstreams: 1 Lobao_LunaVillas-Boas_M.pdf: 3967296 bytes, checksum: 9216ee5f89338b18bb1c4b54ea80d66d (MD5) Previous issue date: 2014 / Resumo: A presente dissertação é um estudo sobre a missão artística do Museu de Arte de São Paulo (MASP), na Rua 7 de Abril, em seus primeiros anos. Pretende entender a concepção de museu de seu fundador, Pietro Maria Bardi, situando suas ideias no contexto internacional, bem como seu pensamento sobre Arte e Educação e o papel das instituições culturais. A análise crítica de artigos, cartas e textos de P. M. Bardi permitiu a coleta de dados e informações que possibilitou entender a estrutura e organização do MASP, com destaque para sua parte pedagogia e para a criação do Instituto de Arte Contemporânea, o IAC. Por fim, o trabalho trata dos acontecimentos que possivelmente abalaram a estrutura inicial do museu, como o acordo com a FAAP, e quais foram seus os desdobramentos / Abstract: This dissertation is a study about the artistic mission of the São Paulo Museum of Art (MASP), when located at Rua 7 de Abril, in its first years. We intend to understand the conception of museum of its founder, Pietro Maria Bardi, while placing his ideias within the international context, as well as comprehending his thoughts on Art and Education and the role of cultural institutions. The critical analysis of articles, letters and texts from P. M. Bardi facilitated the gathering of data and information, which enabled the understanding of the structure and organization of the MASP, especially the educational part and the criation of the Instituto de Arte Contemporânea (Contemporary Art Institute - IAC). Finally, this text covers the events that have possibly affected the inicial structure of the museum, such as the agreement with FAAP, and which were their consequences / Mestrado / Historia da Arte / Mestra em História

The aim of this thesis is to determine market value of the Czech clothing company Pietro Filipi s. r. o. to the valuation date 30th 11th 2012 using the DCF method yield entities. The work is divided into theoretical and practical part. The theoretical part includes the basic concepts of business valuation theory, basic calculations, methods and procedures for determining the value of the company. The second part deals with the application of theoretical methods to the conditions of society. Contains acclaimed performance company, strategic analysis, expressing the position in the market and evaluate its competitiveness and financial analysis to appraise the current financial situation of the company. The results of these analyzes are used to forecast value generators, which are the main determinants for business valuation. After the financial plan, the company awarded the chosen method.

No description available.

This study was undertaken to help determine by geometric analysis whether the two paintings, one attributed to the fourteenth century Sienese artist, Ugolino da Siena, and the other to the fifteenth century Sienese artist, Sano di Pietro, were painted by these artists.

Bei dieser Arbeit handelt es sich um eine Untersuchung zum Thema Renaissance-Humanismus und Individualismus untersucht in pädagogischen Schriften des italienischen und deutschen Humanismus. Im ersten Kapitel wird die Entwicklung dargestellt, die in der Geschichtsschreibung zur Herstellung der Verbindung zwischen Renaissance, Humanismus und Individualismus geführt hat. Nach einer Klärung der Terminologie, die zur Beschreibung des Individualismus verwendet wird (z.B., Individuum, Individualität, Subjektivität, Autonomie, kritische Einstellung) im zweiten Kapitel, werden im dritten und vierten Kapitel die bedeutendsten Schriften des italienischen und deutschen Humanismus anhand der Fragestellung analysiert, ob darin Zeichen von Individualismus zu finden sein können. Die Analyse ergab, dass es, trotz aller Ähnlichkeiten, wie der Betonung der Leistung des einzelnen Menschen oder der Aufforderung zur Berücksichtigung der Naturanlage des Einzelnen, ungerechtfertigt ist, von Individualismus in den humanistischen pädagogischen Schriften zu sprechen. U. a. wird in diesen Schriften der einzelne Mensch in erster Linie als Teil der Gesellschaft angesehen, und in der Argumentation der Humanisten spielen wesentliche Elemente des modernen Individualismus, wie die Idee des „Selbst“ als Grundlage der Identität oder die Idee der Selbstverwirklichung, keine eindeutige Rolle. / The present thesis comprises a research on the subject of Renaissance Humanism and Individualism on the basis of educational writings of Italian and German humanism. The first chapter approaches the developments in the historiography, which led to the connection between Renaissance, humanism and individualism. After an explanation in the second chapter about the terminology which is commonly used to define individualism (e.g. individual, individuality, subjectivity, autonomy, critical thought), the most significant educational writings of Italian and German humanism are analyzed in the third and fourth chapters, in light of the question whether signs of individualism can be found in them. The analysis comes to the conclusion that it is unwarranted to speak of individualism in the humanistic educational writings, in spite of all possible resemblances, for instance, the stress on the individual’s effort and achievement and the urge to account for the nature of the individual. In these writings, the individual is primarily seen as a part of the society. Furthermore the idea of the “self” as the basis of identity or the idea of self-realization, which are essential concepts of the modern individualism, plays no significant role in the argumentation of the humanists.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-10-22T12:32:04Z No. of bitstreams: 1 Rodrigo Antonio da Silva.pdf: 763487 bytes, checksum: 6fbcd6c5dfe59659585620883c9ebf44 (MD5) / Made available in DSpace on 2018-10-22T12:32:04Z (GMT). No. of bitstreams: 1 Rodrigo Antonio da Silva.pdf: 763487 bytes, checksum: 6fbcd6c5dfe59659585620883c9ebf44 (MD5) Previous issue date: 2018-09-05 / Hermetic definitions about the Church can not to express the fullness of her Mystery. Overcoming the vision of juridical emphasis, the ecclesiology developed from the Second Vatican Council takes the theological way of the first millennium and rescues aspects, images and notions that complement each other. The Church recognizes herself as being a mystery: desired by God, she has her foundation, life and destiny in the Trinity. Your life should express Trinitarian communion. It is the new People of God who walk in communion with each other and with God towards the heavenly homeland. Evidently, this vision rescued and renewed in the Council brings with it new ecclesial relations ad intra and ad extra. The Ecclesiology of Communion, along with other important images and definitions, still seems to lack more attention and also remains with an immense open field of practical applications in the ecclesial life. The present dissertative text intends to explore the foundations and relevance of this ecclesiology for the present time and the possible implications already observed in some scenarios of the Church. For this purpose, the author offers the results of the research in three moments: first, he presents the fundamental biblical concepts that relate to the ecclesiology of communion: community, communion and People of God. Next, the contrast between the juridical ecclesiology characteristic of the second millennium and the paradigm shift present in the Dogmatic Constitution Lumen Gentium, as well as some advances achieved in the trinitarian and ecclesiological theologies in the post-Council, is made. Finally, the focus is on some of the ecclesial articulations developed in recent years: the dialogue movement in the internal and external spheres of the Church, the reception in Latin America, as well as the perspectives opened from the pontificate of Pope Francis / Definições herméticas a respeito da Igreja não conseguem expressar a totalidade do seu Mistério. Superando a visão de ênfase jurídica, a eclesiologia desenvolvida a partir do Concílio Vaticano II se coloca na via teológica do primeiro milênio e resgata aspectos, imagens e noções que se complementam. A Igreja se reconhece como sendo mistério: desejada por Deus, ela tem seu fundamento, vida e destino na Trindade. Sua vida deve expressar a comunhão trinitária. Trata-se do novo Povo de Deus que caminha em comunhão entre si e com Deus rumo à pátria celeste. Evidentemente, esta visão resgatada e renovada no Concílio traz consigo novas relações eclesiais ad intra e ad extra. A Eclesiologia de Comunhão, ao lado de outras importantes imagens e definições, ainda parece carecer de maior atenção e também permanece com um imenso campo aberto de aplicações práticas na vida eclesial. O presente texto dissertativo pretende explorar os fundamentos e a relevância desta eclesiologia para a atual época e as possíveis implicações já observadas em alguns cenários da Igreja. Para tal intento, o autor dispõe o resultado da pesquisa em três momentos: primeiramente, apresenta os conceitos bíblicos fundamentais que se relacionam com a eclesiologia de comunhão: comunidade, comunhão e Povo de Deus. Em seguida, é feito o contraste entre a eclesiologia jurídica característica do segundo milênio e a mudança de paradigma presente na Constituição Dogmática Lumen Gentium, além de alguns avanços alcançados nas teologias trinitária e eclesiológicas no pós-Concílio. Por fim, o olhar é voltado para algumas das articulações eclesiais desenvolvidas nos últimos anos: o movimento de diálogo nos âmbitos interno e externo da Igreja, a recepção na América Latina, bem como as perspectivas abertas a partir do pontificado do Papa Francisco

Pietro Maria Bardi, \"cronista\" de arte, arquitetura, design (e de muitos outros temas) e galerista experiente na Itália, veio ao Brasil em 1947, aos 47 anos. Trouxe consigo sua segunda esposa, Lina Bo Bardi, e uma coleção de arte a ser exposta no Ministério da Educação e Saúde, no Rio. Foi tão logo convidado por Assis Chateaubriand, diretor da cadeia de jornais Diários Associados, (Diário de S. Paulo etc.) a organizar um Museu de Arte \"Antiga e Moderna,\" que resultou no Museu de Arte de São Paulo--Masp. Tinha por intenção criar um museu vivo organizando, vinculados ao Masp, o Instituto de Arte Contemporânea--IAC, e a Escola de Propaganda, embrião da atual Escola Superior de Propaganda e Marketing--ESPM, as primeiras tentativas, no Brasil, de uma escola de design e de publicedade. Suas iniciativas buscavam atrair público e tornar a arte acessível, contribuído para que fosse produzida com qualidade pelos brasileiros para os próprios brasileiros, através da conscientização de apreciadores e patrocinadores dessas manifestações. Assim, Bardi, ciente do papel da publicidade, percebia a importância de divulgar tudo relativo às iniciativas do Masp e à arte. Usava como veículos a rede dos Diários, a Habitat (a revista do Masp), a Mirante das Artes & etc. (a revista homônima de sua galeria) e periódicos diversos, principalmente os geridos pelas famílias Carta e Alzugaray. Esses textos brasileiros do diretor e criador do maior museu da América Latina ainda não foram oficialmente compilados nem analisados, especialmente em virtude da dificuldade em acessá-los. Esta pesquisa, um primeiro passo para essa importante e trabalhosa tarefa e concentrou-se em seus artigos publicados nos magazines Casa Vogue, Homem Vogue, Arte Vogue, Senhor Vogue, Senhor e Istoé, no intervalo de 1976 à 1988, período que compreende sua primeira aparição como colaborador nas revistas de Vogue, até a fusão, em 1988, das revistas Senhor e Istoé, da Editora Três. / Pietro Maria Bardi was a journalist and author who wrote about art, design and architecture (along with many other subjects) and an experienced gallerist in Italy. He came to Brazil in 1947, at the age of 47. He brought his second wife, Lina Bo Bardi, and a collection of art to be exhibited in the Health and Education Administration, in Rio De Janeiro. Later Bardi was invited by Assis Chateaubriand, the Diários Associados\'s director, to create an Ancient and Modern Art Museum. This resulted in the creation of the São Paulo Art Museum - Masp. He wanted to create a \"living\" museum, by which he meant a museum with a more interesting and interactive experience. He combined the Contemporary Art Institute, (IAC) the first Brazilian design school, with an advertising school, all under one roof. His goal was to make all kinds of art accessible to everybody, contributing to its creation and quality, by brasilians for brasilians, he did this with the conscientiousness of a connoisseur and with the sponsorship of the art community. Thus, Bardi, conscious of the role of marketing realized the true importantance of advertizing everything related to Masp\'s exhibitions and other initiatives. Alongside the Chateaubriand\'s media, Bardi also advertised and wrote article in the Habitat (the Museum magazine) and Mirante das Artes & etc. (the homonym magazine of his art gallery) magazines and other periodicals like the ones directd by Carta and Alzugaray families. These brazilian articles on art and other related topics, produced by the creator and director of the most important latin american art museum, were never compiled or analysed, most likely because of the difficulty to access them. This research is intended to be the first step of this important and laborious task and focuses on Bardi´s writings published in Casa Vogue, Homem Vogue, Arte Vogue, Senhor Vogue, Senhor e Istoé magazines, between 1976 and 1988, from his first showing as collaborator in Vogue to the merger of Senhor e Istoé magazines, of Editora Três.

Il presente studio ha posto come obiettivo di delineare gli sviluppi della commedia plautino-terenziana nel periodo post-tridentino esaminando le commedie di Luigi Groto il Cieco di Adria (1541-1585). Il periodo di primo Cinquecento vide il «recupero» e la «reinvenzione» della commedia che partì dal modello plautino, adattando ai bisogni del tempo e del pubblico del Rinascimento. All'inizio del Cinquecento prevalse la commedia «motoria» di Plauto basata sull'intreccio, sulle beffe e sull'azione. quando la struttura della commedia iniziò a irrigidirsi, il modello pralutino venne approfondito usando elementi della «stataria», di modello terenziano, basata sullo studio dei caratteri. Tale cambiamento avvenne anche all'interno di alcuni letterati del secolo, Angelo Beolco e Pietro Aretino, entrambi fondamentali per la presente analisi. Le tre commedie in questione, composte da Luigi Groto sono molto diverse tra di loro. Ogni capitolo del presente studio analizzerà una sola commedia e ciascuna da un solo punto di vista. Il primo capitolo avrà come oggetto la proposta linguistica del Groto presentata nella sua prima commedia, intitolata La Emilia, opera di stampo chiaramente ariostesco. Nel secondo capitolo potremo conoscere il quadro offerto dal confronto di diverse concezioni della donna. Nella seconda commedia del Groto, intitolata Il Thesoro, infatti, saranno confrontate una vasta gamma di personaggi femminili, tra cui la più trasgressiva, Licinia, la giovane malmaritata. Questa commedia, chiaramente, è di stampo aretinesco. Il terzo capitolo esaminerà la struttura «hedonistica» de La Alteria, una metacommedia per eccellenza di stampo formalmente terenziano, ma con influssi dei tre maestri: Ariosto, Beolco e Aretino. / The aim of the present study is to define the development of the comedy of Plauto-Terencian origin after the Council of Trent. It will examine the comedies of Luigi Groto, comparing them with other comedies of the Sixteenth Century. There was a reinvention of the comedy based on the Plautian model in the first half of the Cinquecento. The model (called motoria), which was full of effects and lively with action, was adapted to the needs of the era and the public taste. Subsequently this model was enriched by patterns of the Terencian comedy called stataria. The stataria, differently from the motoria, gave more room to characters and to reflections of the comedy itself. Some playwrights, i.e. Angelo Beolco and Pietro Aretino, both fundamental for the study, followed this development in their plays. The three comedies that we are going to analyse, differ from each other. Every chapter is going to examine only one comedy and only from one point of view. In the first chapter, we are going to analyse the language of comedy that Groto proposed in the La Emilia (1579). This play is based on Ludovico Aroisto's elaboration of Plautus. In the second chapter, we are going to look at different perceptions of female characters in the Il Thesoro (1583), Groto's second comedy. We will see how the change in the importance of women on stage modified the other characters. In the last chapter we are going to interpret how the La Alteria (1587), based on Terence and Aretino, became a pure metacomedy, and how its hedonistic structure was influenced by Ariosto, Aretino and Beolco.