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[null,"1.","Record Nr.",null,"UNINA9910452025203321"]
[null,null,"Autore",null,"Swensen Cole <1955->"]
[null,null,"Titolo",null,"The book of a hundred hands [[electronic resource] ] : poems / / by Cole Swensen"]
[null,null,"Pubbl/distr/stampa",null,"Iowa City, : University of Iowa Press, 2005"]
[null,null,"ISBN",null,"1-58729-647-0"]
[null,null,"Descrizione fisica",null,"1 online resource (143 p.)"]
[null,null,"Collana",null,"Kuhl House poets"]
[null,null,"Disciplina",null,"811/.54"]
[null,null,"Soggetti",null,"Hand"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,"Nota di contenuto",null,"Contents; Acknowledgments; One: The History of the Hand; The History of the Hand; The Prehistory of the Hand; The Hand Thinks; The Hand Defined: 1; The Hand Defined: 2; The Hand Defined: 3; Chirologia, or the Natural Language of the Hand; Of an Alphabet of Steppes; By the Eighteenth Century; A History of the Hand; The Hand as Historical; A History of the Hand; Two: Positions of the Hand; Grasp; Fan; Grip; Hold; Sigh; Juggle; Traveling; Glove; The Mechanics of the Hand; Three: Professions of the Hand; Case Histories: Physical Aphasia; The Hand as Lamp; The Hand as Anchor"]
[{"$nulls":4},"The Hand that CaressesThe Hand as Origami; The Hand as 19th-Century Harbor; The Theater of the Hand; The Hand as Ideogram; The Hand as Window; The Hand as Mansion; The Hand as Sun God; The Hand Polishes; Expression; The Hand as Staircase; The Hand as Nest; The Hand as Mango; Four: Representations of the Hand; The Hands' Testament; The Hands Testify; The Hand Painted In; The Hand Sculpted; The Hand Etched in Glass; The Hand Sketched; The Hand Photographed; The Hand in Fresco; Five: The Anatomy of the Hand; Intro to the Palmar View; The Palmar View; The Palmar View, Continued; Palmar 3"]
[{"$nulls":4},"Fingers 1Fingers 2; Fingers: Alignment; Alignment, Continued; Fingertips; The Hand: Lower View: Oblique; The Bevel Itself; Knuckles; The Thumb: Based On; The Intern's Problem; The Thumb, In Sum; The Hand: Branching Out; The Hand: Back View, Fingers Arches; The Hand: Other Arches; The Fist; The Anatomy of Trees; The Mechanics of the Hand; Six: American Sign Language; Signs; The Manual Alphabet; Understanding the Past, Present, and Future; Pronouns; Thinking and "]
[{"$nulls":4},"Feeling; Flood; Garden; Rain; Ghost (Holy); Deer; Evening; To Form the Simple Past; The Present Perfect: To Have; Sun; Animal"]
[{"$nulls":4},"Seven: Shadow PuppetsThe First Movies; Birds; Birds; Birds; Advances in the Form; Eight: A Manual of Gesture: Public Speaking for the Gentleman (1879); Right Hand Descending Oblique Prone; Right Hand Horizontal Front Prone; Right Hand Ascending Lateral Supine; Right Hand Ascending Oblique Vertical; Both Hands Descending Lateral Prone; Nine: Paintings of Possible Hands; Wilton Diptych, 1395; Fra Angelico, Cell 7, San Marco, 1438-43; Dominique Ingres, Venus at Paphos, 1852-53; Auguste Rodin, Cathedral, 1908; Marc Chagall, Self-Portrait with Seven Fingers, 1912"]
[{"$nulls":4},"Marcel Duchamp, Portrait of Doctor Raymond Dumouchel, 1910Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicholaes Tulp, detail, 1632; Norman Bluhm and Frank O'Hara, Hand, 1960; Sean Scully, Landline Sand, 1999"]
[null,null,null,"Sommario/riassunto","The hand is second only to language in defining the human being, and its constant presence makes it a ready reminder of our humanity, with all its privileges and obligations. In this dazzling collection, Cole Swensen explores the hand from any angle approachable by language and art. Her hope: to exhaust the hand as subject matter; her joy: the fact that she couldn't.These short poems reveal the hand from a hundred different perspectives. Incorporating sign language, drawing manuals, paintings from the 14th to the 20th century, shadow puppets, imagined histories, positions (the \"ha"]
[null,"2.","Record Nr.",null,"UNINA9910490719303321"]
[null,null,"Autore",null,"Girardier Sandrine"]
[null,null,"Titolo",null,"L'entreprise Jaquet-Droz : Entre merveilles de spectacle, mécaniques luxueuses et machines utiles (1758-1811) / Girardier, Sandrine"]
[null,null,"Pubbl/distr/stampa",null,"Neuchâtel, Suisse, : Alphil-Presses universitaires suisses, 2020"]
[null,null,"Descrizione fisica",null,"1 online resource (690 p.)"]
[null,null,"Collana",null,"Histoire"]
[null,null,"Soggetti",null,"TECHNOLOGY & ENGINEERING / Industrial Design / Product"]
[{"$nulls":4},"TECHNOLOGY & ENGINEERING / Mechanical"]
[{"$nulls":4},"BUSINESS & ECONOMICS / Corporate & Business History"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Les Jaquet-Droz et Leschot occupent une place de choix dans la mémoire collective neuchâteloise. L’histoire mythifiée des trois mécaniciens chaux-de-fonniers – Pierre Jaquet-Droz, son fils Henry-Louis et leur ami et collaborateur Jean-Frédéric Leschot – participe encore aujourd’hui à la définition du savoir-faire horloger comme une aptitude technique propre à l’Arc jurassien. Alors que tant a été écrit sur ces horlogers du XVIIIe siècle, éminents s’il en est, deux enjeux balisent le présent travail : renouveler le regard porté sur ce trio mécanicien et analyser les sphères d’activités qui caractérisent leurs parcours. De la figure du génie mécanique montagnard à l’image d’Épinal de l’horloger, acteurs isolés au sein d’un contexte idéalisé et non problématisé, les Jaquet-Droz et Leschot envahissent tous les champs de l’histoire en devenant les figures tutélaires de l’horlogerie neuchâteloise. Au sein de cette composition historiographique, les automates occupent une place prépondérante. Déjà au XVIIIe siècle, les enjeux dont ils sont les porte-paroles motivent des commentaires aux orientations diverses : elles ont trait au domaine technique et commercial, à la sphère philosophique et au champ épistémologique. Forte d’une réputation technique fondée sur les automates notamment, la maison Jaquet-Droz prospère et se développe en ouvrant des ateliers à Londres puis à Genève. Ceux-ci deviennent des acteurs importants de la production de mécaniques de luxes où sous-traitance et adaptabilité sont les mots-clés qui permettent de se faire un nom sur la place, "]
[{"$nulls":4},"quitte à l’effacer de ses propres pièces pour favoriser la vente de la marchandise. À l’image de la production, la vente se réalise sur l’échelle internationale pour toucher, notamment, un marché riche en symboles : la Chine. Pour survivre, notamment en situation de crise, la maison doit aussi adapter son écoulement et laisse ainsi entrevoir les stratégies nécessaires à mettre en œuvre pour s’implanter durablement dans le commerce international. Une polyphonie de définitions permet de mieux circonscrire le rôle et la place de l’horloger au XVIIIe siècle, à l’aune d’activités qui dépassent le seul intérêt économique. À travers la fabrication de prothèses anatomiques ou la participation aux activités de la Société des Arts de Genève, la mécanique devient un outil mis au service de la collectivité et vient ainsi contrecarrer les propos parfois réducteurs émis au sujet de l’inutilité des automates. À travers un corpus forcément à géométrie variable qui donne une image plus nuancée du parcours des trois hommes, cette étude souhaite replacer les Jaquet-Droz et Leschot dans le contexte qui est leur et évoquer les enjeux multiples qu’ils rendent visibles."]