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Re/Defining the Imaginary Museum of National Music
Re/Defining the Imaginary Museum of National Music The Case of Croatia Zdravko Blažekovic´ The historian is a product of history himself, and of his situation. However hard we may try, he cannot escape the molding of his mind by his experience and his surroundings.1 Music historiography in Croatia was throughout the twentieth century marked by the path established in the late nineteenth century by Franjo Ksaver Kuhač (1834-1911), who defined the criteria for inclusion of musicians into the national canon on the basis of their Croatian ethnic origin rather than presenting cultural circles in which they were active. In the twentieth century, the central influence on the definition of the canon of Croatian music history came from Josip Andreis (1909-1982) in his historical survey published in three Croatian editions (Razvoj muzičke umjetnosti u Hrvatskoj [The development of musical arts in Croatia], 1962; Povijest hrvatske glazbe [History of Croatian music], 1974, 1989) and two English editions (Music in Croatia 1974, 1982). Synthesizing the existing views about Croatian music, he constructed in his narrative a museum of Croatian and foreign com- posers active in Croatia, as well as composers born in Croatia but living abroad. Besides nationalistic traits inherited from Kuhač, a reason for emphasizing activities of composers working abroad were the political and cultural circumstances surrounding Andreis during the time of communist Yugoslavia, when Croatian connections with the Central European musical space were particularly appreciated, especially when the quality of composers living abroad surpassed the musical production within the country. Being a part of multina- tional Yugoslavia situated between the Eastern and Western cultural and religious spheres, Croatians at the time wanted to distance themselves from the cultures in Eastern Europe and felt the need to be reassured about their belonging to Slavia Latina. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
Working Papers
Temi di discussione (Working Papers) The catalytic role of IMF programs by Claudia Maurini and Alessandro Schiavone April 2021 April Number 1331 Temi di discussione (Working Papers) The catalytic role of IMF programs by Claudia Maurini and Alessandro Schiavone Number 1331 - April 2021 The papers published in the Temi di discussione series describe preliminary results and are made available to the public to encourage discussion and elicit comments. The views expressed in the articles are those of the authors and do not involve the responsibility of the Bank. Editorial Board: Federico Cingano, Marianna Riggi, Monica Andini, Audinga Baltrunaite, Marco Bottone, Davide Delle Monache, Sara Formai, Francesco Franceschi, Adriana Grasso, Salvatore Lo Bello, Juho Taneli Makinen, Luca Metelli, Marco Savegnago. Editorial Assistants: Alessandra Giammarco, Roberto Marano. ISSN 1594-7939 (print) ISSN 2281-3950 (online) Printed by the Printing and Publishing Division of the Bank of Italy THE CATALYTIC ROLE OF IMF PROGRAMS by Claudia Maurini* and Alessandro Schiavone* Abstract This paper investigates the impact of IMF programs on private capital flows in the assisted countries. We look at the impact on inflows and outflows of both traditional and precautionary programs, also taking into account the characteristics of the programs. Using the entropy balancing method to address the selection bias, we find that traditional IMF programs have an anticatalytic effect on private capital inflows; this effect is mainly driven by programs that went off-track and by exceptional access programs. By contrast, precautionary programs are found to have a catalytic effect, working mainly through outflows. JEL Classification: F33, F34, G11, G15. Keywords: International Monetary Fund, catalysis, capital flows. -
2016 Marks the 25Th Anniversary of the Work of the International Trust for Croatian Monuments
THE INTERNATIONAL TRUST FOR CROATIAN MONUMENTS Charity Registration No. 1040187 34 Cadogan Square, London SW1X 0JL Tel/Fax: (020) 7589 1134 & (01677) 422811 www.croatianmonuments.org Email: [email protected] Trustees: Jadranka Lady Beresford-Peirse Sherban Cantacuzino CBE The Viscount Norwich Peter Stormonth Darling Sir Henry Njers Beresford-Peirse John Beresford-Peirse YEAR 2016 MARKS THE 25TH ANNIVERSARY OF THE WORK OF THE INTERNATIONAL TRUST FOR CROATIAN MONUMENTS WITH MANY THANKS TO ALL OUR SUPPORTERS PROGRESS REPORT 2016 Visits to Croatia in September/October 2015 and May 2016 Last autumn, I was a happy and grateful recipient of a Special Mention, an out of ordinary category of the VICKO ANDRIĆ awards, given annually by the Ministry of Culture to individuals and institutions for their efforts in the preservation of Croatian cultural heritage. The awards, started in 2004, are given for Life and Annual Achievement and for Contribution to the Life of Local Communities in the field of conservation.This is in memory of Vicko Andrić, 1793 – 1866, an architect and surveyor and the first Croatian conservator, responsible for preservation of many monuments in Croatia. The public at large, professionals and institutions, can nominate people who they think deserve such honours and I would like to express my thanks to those who proposed my name and to those who supported their proposition. Last autumn, I visited for the first time the Town Museum in SISAK, Roman SISCIA, a treasure trove of archaeological finds, from all periods, including Roman, who were settled there from the 1st to the 4th century AD. The Museum had recently employed a conservator and wanted to establish a conservation workshop, to be able to do at least some work at home, instead of sending to other workshops. -
Donato Bramante 1 Donato Bramante
Donato Bramante 1 Donato Bramante Donato Bramante Donato Bramante Birth name Donato di Pascuccio d'Antonio Born 1444Fermignano, Italy Died 11 April 1514 (Aged about 70)Rome Nationality Italian Field Architecture, Painting Movement High Renaissance Works San Pietro in Montorio Christ at the column Donato Bramante (1444 – 11 March 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. Urbino and Milan Bramante was born in Monte Asdrualdo (now Fermignano), under name Donato di Pascuccio d'Antonio, near Urbino: here, in 1467 Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other features that seemed to have the true ring of a reborn antiquity to Federico da Montefeltro's ducal palace. Bramante's architecture has eclipsed his painting skills: he knew the painters Melozzo da Forlì and Piero della Francesca well, who were interested in the rules of perspective and illusionistic features in Mantegna's painting. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso San Satiro (1482–1486). Space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie (1492–99); other early works include the cloisters of Sant'Ambrogio, Milan (1497–1498), and some other constructions in Pavia and possibly Legnano. -
The Changing Face of Venice by Palma Il Giovane Depicting the History of the Restoration of the Theatre Malibran
ACCESS SCORZÉ NOALE MARCO POLO AIRPORT - Tessera SALZANO S. MARIA DECUMANO QUARTO PORTEGRANDI DI SALA D'ALTINO SPINEA MIRANO MESTREMESTRE Aeroporto SANTA LUCIA RAILWAY STATION - Venice Marco Polo MARGHERA TORCELLO BURANO autostrada Padova-Venezia S.GIULIANO DOLO MIRA MURANO MALCONTENTA STRÀ ORIAGO WATER-BUS STATION FIESSO TREPORTI CAVALLINO D'ARTICO FUSINA PUNTA SABBIONI VTP. - M. 103 for Venice RIVIERA DEL BRENTA VENEZIA LIDO MALAMOCCO WATER-BUS STATION ALBERONI VTP - San Basilio S. PIETRO IN VOLTA WATER-BUS STATION PORTOSECCO Riva 7 Martiri - Venice PELLESTRINA P PIAZZALE ROMA CAR PARK - Venice P TRONCHETTO CAR PARK - Venice P INDUSTRIAL AREA CAR PARK - Marghera P RAILWAY-STATION CAR PARK - Mestre P FUSINA CAR PARK - Mestre + P SAN GIULIANO CAR PARK - Mestre Venezia P PUNTA SABBIONI CAR PARK - Cavallino The changing face of Venice The architect Frank O. Gehry has been • The Fusina terminal has been designed entrusted with developing what has been by A. Cecchetto.This terminal will be of SAVE, the company that has been run- • defined as a project for the new airport strategic importance as the port of entry ning Venice airport since 1987 is exten- marina. It comprises a series of facilities from the mainland to the lagoon and ding facilities to easily cope with the con- that are vital for the future development historical Venice. stant increase in traffic at Venice airport. of the airport, such as a hotel and an The new airport is able to process 6 mil- The new water-bus station has been desi- administration centre with meeting and • lion passengers a year. gned by U. -
The Thin White Line: Palladio, White Cities and the Adriatic Imagination
Chapter � The Thin White Line: Palladio, White Cities and the Adriatic Imagination Alina Payne Over the course of centuries, artists and architects have employed a variety of means to capture resonant archaeological sites in images, and those images have operated in various ways. Whether recording views, monuments, inscrip- tions, or measurements so as to pore over them when they came home and to share them with others, these draftsmen filled loose sheets, albums, sketch- books, and heavily illustrated treatises and disseminated visual information far and wide, from Europe to the margins of the known world, as far as Mexico and Goa. Not all the images they produced were factual and aimed at design and construction. Rather, they ranged from reportage (recording what there is) through nostalgic and even fantastic representations to analytical records that sought to look through the fragmentary appearance of ruined vestiges to the “essence” of the remains and reconstruct a plausible original form. Although this is a long and varied tradition and has not lacked attention at the hands of generations of scholars,1 it raises an issue fundamental for the larger questions that are posed in this essay: Were we to look at these images as images rather than architectural or topographical information, might they emerge as more than representations of buildings, details and sites, measured and dissected on the page? Might they also record something else, something more ineffable, such as the physical encounters with and aesthetic experience of these places, elliptical yet powerful for being less overt than the bits of carved stone painstakingly delineated? Furthermore, might in some cases the very material support of these images participate in translating this aesthetic 1 For Italian material the list is long. -
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. -
Vitruvian Echo Through the Renaissance
Tatjana FILIPOVSKA Vitruvian Echo through the Renaissance uDK 94: [72.032:7.034 Ss Cyril and Methodius University, Skopje tatj [email protected] Abstract: MarCus Vitruvius Pollio, 1st Century BC author o f the only arChiteCtural treatise to survive from antiquity, profoundly influenCed RenaissanCe architecture, despite the notorious obsCurities o f his unillustrated manusCripts. The “De arChiteCtura ” was known throughout the Middle Ages in Italy (copies were owned by PetrarCh and BoCCaCCio), but the superior manusCript found by BraCCiolini CoinCided with inCreased 15th Century interest in the prinCiples o f anCient architecture. Vitruvius saw arChiteCture as an imitation o f nature, whiCh must therefore follow rational prinCiples - an idea taken up by Alberti and Palladio. As “Utility, strength, and beauty” were for Vitruvius the three divisions o f architecture, thus his importanCe for the RenaissanCe arChiteCtural theory and arChiteCture in praCtiCe laid upon three main points: proportions, orders and the ConCept o f the Ideal City. Vitruvius's idea o f beauty as derived from symmetry and the modular relationship of the parts to the whole appealed to the RenaissanCe both for its mathematiCal basis, and for its reCourse to anthropomorphiC proportions. The Early RenaissanCe did not define proportions strictly, but the arChiteCts Vignola, and espeCially Palladio did. Palladio made proportional systems that lead to a superior and universal aesthetic, whiCh will beCame timeless and popular all over the world, making Vitruvius relevant until today. Above all, RenaissanCe responses to the Vitruvian orders reveal Changing attitudes to his authority. Alberti understood the orders (Doric, JoniC and Corinthian), and added the ornate Composite. -
The Ragusans in Venice from the Thirteenth to the Eighteenth Century
L.Dubrovnik »oraliÊ, TheAnnals Ragusans 3 (1999): in Venice13-40 from the Thirteenth to the Eighteenth Century 13 Original Paper UDC 945-2 Venecija:929-054.6(497.13-2 Dubrovnik)≈12/17« THE RAGUSANS IN VENICE FROM THE THIRTEENTH TO THE EIGHTEENTH CENTURY LOVORKA »ORALIΔ ABSTRACT: Based upon the documents from Venetian archives, this study deals with the presence and activities of the Ragusans in Venice from the thirteenth to the eighteenth century with regard to their residence, occupation, and spiritual and everyday life, with particular insight into the activities of distinguished Ragusans in the province of culture, science, and art. The migration of the population from the eastern coast of the Adriatic to Venice taking place over the centuries, can be viewed as a complex process caused by the political, cultural, and trade links between the two neighbour- ing regions. Most of the towns along the eastern Adriatic coast share common histori- cal features, having all once been part of the Venetian Republic. Dubrovnik, however, managed to retain its independence as a city-republic, except for the period from 1205 to 1358, with a powerful economy founded on sea-borne commerce, and a cultural and scholarly life stirred to the greatest heights among the cities on the eastern shores of the Adriatic. Therefore, the migra- Lovorka »oraliÊ, member of the Croatian Institute of History in Zagreb. Address: Hrvatski institut za povijest, OpatiËka 10, 10000 Zagreb, Croatia. A longer version of this article has already been published in Croatian under the following title: ≈DubrovËani u Veneciji od XIII. do XVIII. -
Eliminating Artificial Trans Fatty Acids in Argentina
Publication: Bulletin of the World Health Organization; Type: Research Article ID: BLT.14.150516 Adolfo Rubinstein et al. Dietary fats in Argentina This online first version has been peer-reviewed, accepted and edited, but not formatted and finalized with corrections from authors and proofreaders. Eliminating artificial trans fatty acids in Argentina: estimated effects on the burden of coronary heart disease and the costs Adolfo Rubinstein,a Natalia Elorriaga,a Ulises Garay,a Rosana Poggio,a Joaquin Caporale,a Maria G Matta,a Federico Augustovski,a Andres Pichon- Riviere a & Dariush Mozaffarian b a Institute for Clinical Effectiveness and Health Policy (IECS), Ravignani 2024, Buenos Aires, C1414CPV, Argentina. b Friedman School of Nutrition Science and Policy, Tufts University, Boston, United States of America. Correspondence to Adolfo Rubinstein (email: [email protected]). (Submitted: 16 November 2014 – Revised version received: 15 March 2015 – Accepted: 10 April 2015 – Published online: 22 June 2015) Abstract Objective To estimate the impact of Argentine policies to reduce trans fatty acids (TFA) on coronary heart disease (CHD), disability-adjusted life years (DALYs) and associated health care costs. Methods We estimated the baseline intake of TFA before 2004 to be 1.5% of total energy intake. We built a policy model including baseline intake of TFA, the oils and fats used to replace artificial TFAs, the clinical effect of reducing artificial TFAs and the costs and DALYs saved due to averted CHD events. To calculate the percentage of reduction of CHD, we calculated CHD risks on a population-based sample before and after implementation. The effect of the policies was modelled in three ways, based on projected changes: (i) in plasma lipid profiles; (ii) in lipid and inflammatory biomarkers; and (iii) the results of prospective cohort studies. -
Sicily and the Imperialism of Mid-Republican Rome : (289-191BC)
SICILY AND THE IMPERIALISM OF MID- REPUBLICAN ROME : (289-191BC) John Serrati A Thesis Submitted for the Degree of PhD at the University of St Andrews 2001 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/11102 This item is protected by original copyright L Sicily and the Imperialism of mid-Republican Rome (289-191 BC) John Serrati Ph.D. Ancient History 19 January 2001 i) I, John Serrati, hereby certify that this thesis, which is approximately 96,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. Signature of Candidate ii) I was admitted as a research student in October 1995 and as a candidate for the degreeofPh.D. in Ancient History in October 1996; the higher study for which this is a record was carried out in the University of St. Andrews between 1995 and 2001. iii) I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree ofPh.D. in the University of St. Andrews and that the candidate is qualified to submit this thesis in application for that degree. F:-·;T,',,:.-~TD Signature of Supervisor ... .tt,"·.· .:.:.~~::;.L~~J Date ..I.'1.b.J~.~ .. "'"-...... .,r-'" In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby.