monere

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Unus Consultor aestimat quod retineri non debet: confessarius non potest obligare ad denuntiandum, sed monere, consulere tantum.
Uno de los aspectos mas importantes de los monumentos (del latin monumentum y monere) tiene que ver con el aspecto conmemorativo que estos tienen, aunque esta "fuerza activa" no se habilita por si sola, sino, que generalmente es reconocida a partir de identificar aspectos relacionales de contingencia historica (Osborne 2014).
Dormaels (2012) comenta que patrimonio proviene del latin pater o patris, el padre, la familia, y de monere, recordar, sonar, por lo que significa lo que nos recuerda a los ancestros.
Weinstock then briefly situates the monster in history, culture and critical theory, observing, for example, that the word "monster" is related to the Latin "monstrare" (to show or reveal) and "monere" (to warn or portend) (1).
Moussy (16) rappelle que monstrum qui derive de monere a donne lieu a monstrare (comme le souligne aussi Ciceron, De la nature des dieux, II, 7) qui a moins le sens de "montrer" qu' "enseigner une conduite"; le monstrum est ainsi un avertissement donne par les dieux.
Pater procuratorem matritensem monere, ne tantum indormire videatur>> (Alegre, Francico Javier.
(It is perhaps worth recalling that the word monster comes from the Latin monere, meaning "to warn.") (24) Racked by the guilt of having incited the suicide of his former lover, d'Hauteville declares himself a "monster" who deserves death (1: 107).
14 (The Pope Speaks 10 [Fall 1965] 309-28, at 312); AAS 57 (1965) 756: "Equidem non negamus eorum qui has miras opiniones disseminant, haud spernendum studium tantum Mysterium vestigandi eiusque in exhaustas edisserendi divitias eiusdemque intellegentiam hominibus nostrae aetatis aperiendi, quinimmo illud agnoscimus probamusque; sed, quas proferunt, opiniones probare non possumus deque earum pro recta fide gravi periculo vos monere iubemur."
Christum narrare et dilectionem monere: osservazioni sulla narratio del De catechizandis rudibus, en Augustinianum, 14 (1974), pp.
By turning his opponents into statues, Perseus creates dual-purpose monuments: they are a warning to others who might challenge him (from the Latin moneo, monere), and they are reminders of Perseus's victories, visual markers of his self-aggrandizement.