La Virgen de la Anunciación, un paradigma de humildad en la doctrina y la imagen de la Edad Media

Ao relatar a Anunciação, o Evangelho de Lucas expõs uma excelsa lição de humildade proporcionada pela Virgem Maria quando Ela se proclamou escrava do Senhor por receber o anúncio de sua eleição como Mãe de Deus. Semelhante atitude moral logo se converteu em um extraordinário exemplo de modéstia e obediência para todos os cristãos, tal como manifesto por numerosos Padres da Igreja, teólogos e pensadores religiosos ao longo dos séculos. Nosso artigo pretende esclarecer o que essa significativa lição de humildade e acatamento por parte da Virgem, referida pelo Evangelho e abundantemente interpretada em fontes patrísticas e teológicas, representou nas obras de arte, tal como evidenciaremos através da análise de doze pinturas medievais.In recounting the event of the Annunciation, the Gospel of Luke describes the sublime lesson of humility given by the Virgin Mary by proclaiming herself the Lord's slave while she received the announcement of her election as Mother of God. Such a moral stance soon became an outstanding example of modesty and obedience for all Christians, as it was showed by many Church Fathers, theologians and religious thinkers throughout the centuries. Our paper aims to highlight that this significant lesson of humility and submission by the Virgin, reported by the Gospel and frequently interpreted in patristics and theological sources, often reflected also in art works, as we try to put evident through the analysis of twelve medieval paintings

The Virgin of the Annunciation : a paradigm of humility in medieval doctrine and imagery

In recounting the event of the Annunciation, the Gospel of Luke describes the sublime lesson of humility given by the Virgin Mary by proclaiming herself the Lord’s slave while she received the announcement of her election as Mother of God. Such a moral stance soon became an outstanding example of modesty and obedience for all Christians, as it was showed by many Church Fathers, theologians and religious thinkers throughout the centuries. Our paper aims to highlight that this significant lesson of humility and submission by the Virgin, reported by the Gospel and frequently interpreted in patristics and theological sources, often reflected also in art works, as we try to put evident through the analysis of twelve medieval paintings

The first level of St. Bonaventure’s transcendent Aesthetics: Contemplating God as the pure, primary Being

St. Bonaventure asserts that man can ascend contemplatively to God through three phases. The first one is to contemplate God outside us by appreciating the corporeal things as vestiges of the deity: this is the “immanent” phase of Bonaventure’s Aesthetics, framed by the first and second stages of contemplation of God. The second phase consists of entering into our soul, as a spiritual image of God: this intermediate phase, in which we can contemplate God inside ourselves by his image in our soul, constitutes the Seraphic’s “introspective” Aesthetics, with the third and fourth stages of contemplation of God. In the third phase, man, transcending the vestiges in objects and the image of the deity in his soul, elevates himself to God, contemplating him as the spiritual and eternal First Principle: that third phase constitutes the Bonaventure’s “transcendent” Aesthetics, in which man can contemplate God considering his essential attributes (fifth stage) and his personal properties (sixth stage). The current article aims to highlight this fifth stage of Bonaventure’s Aesthetics. To achieve this goal, we analyze step by step the reasoning that, to prove his thesis, our author exposes in Chapter 5 of his Itinerarium mentis in Deum.St. Bonaventure asserts that man can ascend contemplatively to God through three phases. The first one is to contemplate God outside us by appreciating the corporeal things as vestiges of the deity: this is the “immanent” phase of Bonaventure’s Aesthetics, framed by the first and second stages of contemplation of God. The second phase consists of entering into our soul, as a spiritual image of God: this intermediate phase, in which we can contemplate God inside ourselves by his image in our soul, constitutes the Seraphic’s “introspective” Aesthetics, with the third and fourth stages of contemplation of God. In the third phase, man, transcending the vestiges in objects and the image of the deity in his soul, elevates himself to God, contemplating him as the spiritual and eternal First Principle: that third phase constitutes the Bonaventure’s “transcendent” Aesthetics, in which man can contemplate God considering his essential attributes (fifth stage) and his personal properties (sixth stage). The current article aims to highlight this fifth stage of Bonaventure’s Aesthetics. To achieve this goal, we analyze step by step the reasoning that, to prove his thesis, our author exposes in Chapter 5 of his Itinerarium mentis in Deum

“DESCRIPCION DE LA SERIE DE CASOS DE TUMOR DE CUERPO CAROTIDEO EN EL CENTRO MEDICO ISSEMYM TOLUCA”

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Spain in the international urban networks around the First World War

The neutrality of Spain during First World War brought with it a significant economic growth. Then, Spain timidly joined the town planning forums of meetings, debates and exchanges that took place in the post-war European era. Some Spanish public institutions as the Instituto de Reformas Sociales, responsible for the social housing policy, and the City Councils of Madrid, Barcelona and Bilbao, which tried to order their development; private institutions such as the Compañía Madrileña de Urbanización, promoter of the Madrid Linear City by Arturo Soria, and the Civic Society Ciudat Jardí in Barcelona, diffuser of the Garden City movement in Catalonia; and the first Town Planning Professor in the School of Architecture of Madrid, César Cort, attended different congresses looking for a solution to the housing problem along with the town planning extension issue. The aim of this paper is to show the Spanish town planners and technicians who participated in the international urban networks in order to consolidate the Spanish urbanism through the new technical, theoretical and legal tools that were being implemented in Europe. They also attended to proudly show some Spanish advances

A multiphysics approach for modeling gas exchange in microperforated films for modified atmosphere packaging of respiring products

The objective of this work is to quantify, model and verify how the interactions between the respiring products and the surrounding atmosphere in a package affect the gas exchange through a microperforation. The pressure drop generated in a closed system by the metabolic activity of five different products has been determined by direct and indirect measurements. In this way, the estimated compensating hydrodynamic flows that can pass through the microperforated film ranged from 0.34 to 4.75 mL h(-1). A 3D model that considers the mass transfer coupled with the momentum transfer has been proposed to predict the gas concentration profiles around the microperforations originated by the diffusive and convective flows. A novel gas exchange measurement system, able to deliver small convective airflows comparable to those obtained for the different products and conditions, was assembled for the model verification. The model correctly predicts experimental data obtained for different convective flows