I love looking at the green fields around my little house. A little house, yes, a one-room house. Since Grandma has been gone, this place has been uninhabited for years, but for the past eight months it has become all mine. Freshly bloomed violets distract me and push my thoughts away. I can’t tell if they’re really purple, the streaks inside are yellow and white, forming something unique. In a moment, the memories take me inexorably, I see myself happy and serene at my parents’ house. Ours is a small town, but we live well there. With my friends we share everything: we like to spend whole afternoons at the beach, bathing and playing in the water, laughing over nothing, noises and words echoing in the air. I have always loved that place at the end of the beach. The sand becomes one with the sky and the sea. I would spend hours admiring this spectacle of nature, breathing serenity, but everything seems so far away.
How historical preservation efforts to protect architectural monuments arose in the twentieth century. The twentieth century was highly destructive, but from its landscapes of ruins was born a new architectural type: the cultural monument. In the wake of World War I, an international movement arose which aimed to protect architectural monuments in large numbers, and regardless of style, hoping not only to keep them safe from future conflicts but also to make them worthy of protection from more quotidian forms of destruction. An evolving group—including architects, intellectuals, art historians, archaeologists, curators, and lawyers—grew out of the new diplomacy of the League of Nations. During and after World War II, it became affiliated with the Allied Military Government and was eventually absorbed by the UN as UNESCO. By the 1970s, this organization had begun granting World Heritage status to a global register of significant sites—from buildings to bridges, shrines to city centers, ruins to colossi. Examining key episodes in the history of this preservation effort—including projects for the Parthenon, the Cathedral of St-Lô, the temples of Abu Simbel, and the Bamyian Buddahs —Lucia Allais demonstrates how the group deployed the notion of culture to shape architectural sites, and how architecture in turn shaped the very idea of global culture. Designs of Destruction emphasizes how the technical project of ensuring various buildings’ longevity jolted preservation into establishing a transnational set of codes, values, and practices. At the same time, this paradoxically helped integrate technologies of destruction—from bombs to bulldozers—into cultural governance. Designs of Destruction not only offers a fascinating narrative of cultural diplomacy, based on extensive archival findings; it also contributes an important new chapter in the intellectual history of modernity by showing the manifold ways architectural form is charged with concretizing abstract ideas and ideals, even in its destruction.
In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of 'Made in Italy' investigates Italy's transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy's first internationally attended fashion show in 1951 to Time magazine's Giorgio Armani April 1982 cover story, which signalled the fashion designer's international arrival, and Milan's presence as the capital of ready-to-wear. Chapters focus for the first time on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country's overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace. By looking at how things are made, by whom, and where, this book seeks to unpack the 'Made in Italy' label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.
In this volume, Boldrini examines "heterobiography"—the first-person fictional account of a historic life. Boldrini shows that this mode is widely employed to reflect critically on the historical and philosophical understanding of the human; on individual identity; and on the power relationships that define the subject. In such texts, the grammatical first person becomes the site of an encounter, a stage where the relationships between historical, fictional and authorial subjectivities are played out and explored in the ‘double I’ of author and narrating historical character, of fictional narrator and historical person. Boldrini considers the ethical implications of assuming another’s first-person voice, and the fraught issue of authorial responsibility. Constructions of the body are examined in relation to the material evidence of the subject’s existence. Texts studied include Malouf’s An Imaginary Life, Carey’s True History of the Kelly Gang, Ondaatje’s The Collected Works of Billy the Kid, Adair’s The Death of the Author, Banti’s Artemisia, Vázquez Montalbán’s Autobiografía del general Franco. Also discussed, among others: Yourcenar’s Memoirs of Hadrian, Tabucchi’s The Last Three Days of Fernando Pessoa, Giménez-Bartlett’s Una habitación ajena (A Room of Someone Else’s).
Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth Century offers a new interpretation of European modernist dance by addressing it as guiding medium in a vibrant field of gestural culture that ranged across art and philosophy. Taking further Cornelius Castoriadis's concept of the social imaginary, it explores this imaginary's embodied forms. Close readings of dances, photographs, and literary texts are juxtaposed with discussions of gestural theory by thinkers including Walter Benjamin, Sigmund Freud, and Aby Warburg. Choreographic gesture is defined as a force of intermittency that creates a new theoretical status of dance. Author Lucia Ruprecht shows how this also bears on contemporary theory. She shifts emphasis from Giorgio Agamben's preoccupation with gestural mediality to Jacques Ranci?re's multiplicity of proliferating, singular gestures, arguing for their ethical and political relevance. Mobilizing dance history and movement analysis, Ruprecht highlights the critical impact of works by choreographers such as Vaslav Nijinsky, Jo Mihaly, and Alexander and Clotilde Sakharoff. She also offers choreographic readings of Franz Kafka and Alfred D?blin. Gestural Imaginaries proposes that modernist dance conducts a gestural revolution which enacts but also exceeds the insights of past and present cultural theory. It makes a case for archive-based, cross-medial, and critically informed dance studies, transnational German studies, and the theoretical potential of performance itself.
By paying attention to Algerian Independence, this book reconstructs the action of the Catholic Church regarding the issues of the spread of Islam in colonies, to Arab nationalism, Marxist propaganda in non-European countries, and the effects of the Algerian crisis upon the French political system. The complex relations between the Holy See and France, as well as those between the Vatican and the Episcopates and clergy of the overseas territories, are vital aspects of decolonisation, a topic which, to date, has been overlooked by historiography because of the impossibility of accessing documents relating to the pontificate of Pius XII (1939-1958) held in the Vatican archives. The opening in March 2020 of the archives of Pius XII, the Pope who had succeeded in imposing the strategic role of the Holy See upon the international scene, has made a vast amount of unpublished documentary material available to scholars. This book is useful for all students and scholars interested in the Cold War, the history of contemporary Europe, the history of the Church, postcolonial studies, and religious phenomenon in post-World War II Europe.
Splendid, spiritual, and subversive, this anthology offers a sampler of just some of the feminisms emerging in academic seminars, street demonstrations for justice, and places where people are reclaiming their ancestral values. She Is Everywhere! Vol. 2 is comprised of international essays, poems, and works of art from the growing community of women and men who recognize Her and feel Her call to expression in many forms. This unique volume presents a fresh look at women in the Judeo-Christian Bible, in the Koran, and in the kaleidoscopic beauty of the world's women from her signs in caves, cliffs, and forests to her many faces, manifestations, and hidden places. Celebrate woman's spirituality, her colors, her islands and continents, her rages and blessings in weather, her silences, and her surprising epiphanies. She Is Everywhere! Vol. 2 leads the contemporary cultural and political nonviolent revolution for a radically democratic and harmonious world full of compassion, equality, and transformation!
Lucia Ceci reconstructs the relationship between the Catholic Church and Fascism. New sources from the Vatican Archives throw fresh light on individual aspects of this complex relationship: the accession of Mussolini to power, the war in Ethiopia, the racial laws, the comparison between Pius XI and Pius XII. This book offers a comprehensive reconstruction of this encounter, explaining the criteria that led Catholics to support a dictatorial, warmongering and racist regime. In contrast to the traditional periodization, the history begins with the childhood of Mussolini in the final years of the nineteenth century, and ends with the sudden collapse of his puppet regime, in 1945. This means to some extent placing in a different light the exceptional nature of the ventennio. The Italian original L’interesse superiore, Il Vaticano e l’Italia di Mussolini has won the “Friuli Storia” Prize for Studies of Contemporary History.
In 1965, after a coup led by Jose de Magalhaes Pinto and others, the military dictatorship closed down all the Brazilian political parties that had been active since 1945. The regime then allowed the creation of just two parties, one pro-government and the other an opposition party. This book analyzes the history of the National Renewal Alliance (Alianca Renovadora Nacional ARENA), the party created to support the military government. ARENA included the main leaders of Brazils previously existing conservative parties. Its early years were marked by political uncertainty as the military regime engaged with the pro-government party. The militarys intervention in the political field brought about disagreements regarding autonomy and policy, and politicians and leaders unwilling to toe the military line were circumscribed through removal from office and the stripping of political rights via decree. Lucia Grinberg sets out to explain how the legitimacy of the party was viewed by different parties (especially the opposition) and at different times, up to ARENAs dissolution in 1979. Issues of constitution, ideology, party loyalty, amnesty, and the gamut of political representation pervade its historiography. And not least the way the country, at all political, social and media levels, viewed the party. Drawing on abundant historical documents, the book makes a unique contribution to the comparative study of political parties in dictatorships. The Brazilian case is exceptional among the Latin American dictatorships of the 1960s and 70s, since the representative political institutions were preserved, despite the loss of prerogatives of the Legislative Branch.
Following its foundation in 1957, the European Economic Community set about establishing itself as a major player on the world stage. One of the first key arenas in which the new organisation began to make its presence felt was the GATT negotiations that took place between 1963 and 1967, known as the Kennedy Round. Through a reconstruction of these on-going negotiations, this book charts the emergence of the EEC as a world trading power and the strategies it adopted that were to have a lasting effect upon European trade policies. As well as proving an important background to the Kennedy Round, the study explains how the EEC/European Union became a powerful actor in international trade, championing a liberal attitude toward the industrial sector but a protectionist one in agriculture. It also addresses the impact of the EEC/EU as regional trading area on the multilateral and global trading system and the EEC/EU trade policy-making. Through an historical analysis of these topics, a much fuller understanding of the actual role and stance of the EEC/EU in world trade is provided, one that not only illuminates events at the time, but provides essential background to the challenges still faced by the international trading system and the World Trade Organization. Based on a wealth of documentary research drawn from European and US archives, this book will be welcomed by all wishing to better understand the complex nature of international trade in an increasingly globalised market place.
This book offers managers a complete analysis of the various issues of credit risk management for trade credit financing instruments supported by applications to various types of markets and presents an analysis on risks associated with trade credit in supply chains. Trade credit finance is characterized by strong attractiveness deriving from risk mitigation, but the plurality of sources of credit risk (default and dilution risk) requires the implementation of a credit risk management system that exploits the broad knowledge developed by financing supply relationships. Consequently, financiers could be hindered from developing a full understanding of the underwritten risks and are thus unable or only partially able to evaluate their full potential to expand financial relationships over the credit capability of a single counterparty with respect to the supplier–debtor pair. The richness of the information available in trade credit financing is not an obstacle for the development of a modern risk management framework, but it must be calibrated to avoid distortions in the implementation. In addition, risk analysis in the supply chain is not limited to the crises of individual members but must assess the effects of such crisis on the entire supply chain and assess the specific risks of contagion and the favorable conditions for the propagation. This book offers managers a complete analysis of the various issues of credit risk management for trade credit financing instruments supported by applications to various types of markets and presents an analysis on risks associated with trade credit in supply chains.
The book tells the story of how the British consular service in the Aegean, in the years of the British protectorate of the Ionian Islands (1815-1864) became an agency for the retrieval, excavation and collection of antiquities eventually destined for the British Museum. Exploring the historical, political and diplomatic circumstances that allowed the consular service to develop from a chartered company into a state run institution under the direction of the Foreign Office, it provides a unique perspective on the intersection of state policy, private ambition, and the collecting of antiquities. Drawing extensively on consular correspondence, the study sets out several challenges to current views. For those interested in the history of travel in the Levant, or more generally in the Grand Tour, the book presents an alternative point of view that challenges the travellers' descriptions of the region. The book also intersects with British diplomatic history, providing an insight into the consuls in both their official and private circumstances, and comparing their situation under the Levant Company with that of the Foreign Office run consular service. The complex political situation in the Aegean at the time of the take over of the service is examined along with the political and commercial roles of the consuls, their daily dealings with the Greeks and Ionians, and also with the Ottoman authorities. Through private correspondence, it shows how the consuls' reflected the belief that Greek, Egyptian, Babylonian, Roman and other antiquities would be better looked after in a British, French, German or American museum, than by the people, and in the countries, they were created for. In particular, the book illuminates the public/private nature of the consuls' role, the way they worked with, but independently of, government, and it reveals how Britain was able to acquire major pieces of sculpture from the nineteenth century Aegean.
Herbs and Herbals from the Fourteenth to the Nineteenth Centuries: A Selection of the Rare Books, Manuscripts and Works of Art in the Collection of Rachel Lambert Mellon
Herbs and Herbals from the Fourteenth to the Nineteenth Centuries: A Selection of the Rare Books, Manuscripts and Works of Art in the Collection of Rachel Lambert Mellon
This magnificent compendium is the fourth in a series of catalogues describing selections of rare books and other material in the Oak Spring Garden Library, a collection assembled by Mrs. Rachel “Bunny” Lambert Mellon. Herbaria describes sixty-three books and manuscripts about herbs and includes exquisite illustrations selected from the works themselves. Spanning the fourteenth to nineteenth centuries, and featuring works by Brunfels, Culpeper, Monardes, and Linnaeus, among others, this authoritative catalogue will prove fascinating to botanists, bibliophiles, garden historians, and herbalists alike.
He applied science to life, not with the disinterested precision of a scientist, but with the aims and methods of a humanist. After 1861 he represented the United States at the Court of Savoy, in the critical years in which Italy was built, and the United States reshaped along modern lines. From his perspective, he described prominent Italian contemporaries and their relations with the United States and his opinion could not be ignored by the Department of State. The hero of the Marsh reports was Giuseppe Garibaldi; the "devil", Napoleon III. His luminous exposition, with a clear and fresh language, revealed many aspects of his historical times and of the images of Italy, which were frequently corroborated by the diaries of American tourists and writers doing their "Grand Tour": far from being a modern country, Italy appeared a wonderful destination for traveling, the land of Dante, Machiavelli, Petrarca.
Catholics and Political Violence in the Twentieth Century presents a historical reconstruction of the ways in which Catholics have justified the recourse to political violence during the twentieth century, a period marked by major wars, nationalisms, decolonization, ideological clashes, and episodes of genocide. Legitimation processes are particularly complex when this violence is not endorsed by the state, and perhaps used against it. Depending on perspective, the protagonists of this radical form of collective action may be seen as ‘terrorists’ or ‘freedom fighters’. Written by a leading historian of contemporary Catholicism, this book examines a series of case studies from different parts of the world, selected because of the central role played by the Catholic religion. They range from Northern Ireland to the Basque Country, from the Philippines to Colombia, and from Mexico to Rwanda. It highlights how theological sources, paradigms of martyrdom, and symbols of the Christian tradition have provided a catalogue of reasons to give moral value to violence and promote it in the name of God. By looking at the history of Catholicism in global terms and adopting a transnational perspective, Catholics and Political Violence in the Twentieth Century sheds a critical light on the themes that are crucial to understanding the relationship between religion and violence. It will appeal to scholars and students working and studying in the fields of Modern and Contemporary History, Religious Studies, Terrorism Studies, Cultural and Global Studies, Intellectual History, and the History of Political Thought.
In the 1993 edition, I considered black madonnas a metaphor for a memory of the time when the earth was belived to be the body of woman and all creatures were equal, a memory transmitted in vernacular traditions of earth-bounded cultures, historically expressed in cultural and poltical resistance, and glimpsed today in movements aiming for transformation. Sine then my understanding of black madonnas has been deepened by genetics finding that the orgin of modern humans is Africa, that migrations from Africa carried a primordial belief in a dar woman divinity to all continents. Black madonnas and other dark women of the world suggest a metaphor for healing millennial divisions of gender and race and concerted movements for justice.
Che Guevara is something of a symbol in the West, a representative of Sixties counterculture and the face adorning the T-shirts of a million student radicals. But in the rest of the world he is something else: a charismatic revolutionary who redrew the political map of Latin America and gave hope to those resisting colonialism everywhere. Lucia Alvarez de Toledo comes from the same social milieu as Che Guevara; born and raised in Buenos Aires, she was at school while he attended university, and then as a journalist she closely followed his meteoric political rise. As a result she is able to put him into context like few others among his biographers, dispelling numerous popular misconceptions and revealing aspects to his life which have been missed before. Based on interviews with Che's family and those who knew him intimately, this is an accessible biography that concentrates on the man rather than the icon. With the political developments in Latin America in the twenty-first century, Guevara's influence can be seen to be even greater than it was during his lifetime.
¡Claro que siacute;!is a proven, integrated skills program with a strong emphasis on developing oral proficiency and cultural competence. The text's combination of relevant themes, lively practice, and engaging technology tools allows students to start communicating early and with confidence. The authors' philosophy and approach cultivate active learners. Six solid principles of learning form the foundation of the text: students learn by doing; language is culture and culture is reflected in language; skill integration promotes language development; self-expression facilitates greater language proficiency; systematic recycling enables students to move from learning to acquisition; and engaging material enhances learning. Updated cultural information appears throughout the text in the¿Lo sabiaacute;n?culture notes and in the chapter-openingDatos interesantesfeature, introducing facts relevant to each chapter's content. The¡Claro que siacute;!video features footage from five Spanish-speaking countries. A mix of interviews and documentary-based segments allow students to see how geography and ethnicity influences the everyday lives of Hispanics. At the same time, students increase their cultural awareness through ongoing contrast and comparison of social practices, products, and other topics. To support independent and classroom viewing, pre- and post-viewing exercises appear after each even-numbered chapter in the text.
Malleable Anatomies offers an account of the early stages of the practice of anatomical modelling in mid-eighteenth-century Italy. It investigates the 'mania' for anatomical displays that swept the Italian peninsula, and traces the fashioning of anatomical models as important social, cultural, and political as well as medical tools. Over the course of the eighteenth century, anatomical specimens offered particularly accurate insights into the inner body. Being coloured, soft, malleable, and often life-size, they promised to foster anatomical knowledge for different audiences in a delightful way. But how did anatomical models and preparations inscribe and mediate bodily knowledge? How did they change the way in which anatomical knowledge was created and communicated? And how did they affect the lives of those involved in their production, display, viewing, and handling? Examining the circumstances surrounding the creation and early viewing of anatomical displays in Bologna and Naples, Malleable Anatomies addresses these questions by reconstructing how anatomical modelling developed at the intersection of medical discourse, religious ritual, antiquarian and artistic cultures, and Grand Tour display. While doing so, it investigates the development of anatomical modelling in the context of the diverse worlds of visual and material practices that characterized the representation and display of the body in mid-eighteenth-century Italy. Drawing attention to the artisanal dimension of anatomical practice, and to the role of women as both makers and users of anatomical models, it considers how anatomical specimens lay at the centre of a composite world of social interactions, which led to the fashioning of modellers as anatomical celebrities. Moreover, it examines how anatomical displays transformed the proverbially gruesome practice of anatomy into an enthralling experience that engaged audiences' senses.
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