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SKALKOTTAS Program 148X21
International Conference Program NOVEMBER 29 TO DECEMBER 1, 2019 Music Library of Greece of the Friends of Music Society at Megaron – the Athens Concert Hall Organised by the Music Library of Greece “Lilian Voudouri” of the Friends of Music Society, Megaron—The Athens Concert Hall, Athens State Orchestra, Greek Composer’s Union, Foundation of Emilios Chourmouzios—Marika Papaioannou, and European University of Cyprus. With the support of the Ministry of Culture and Sports, General Directorate of Antiquities and Cultural Heritage, Directorate of Modern Cultural Heritage The conference is held under the auspices of the International Musicological Society (IMS) and the Hellenic Musicological Society It is with great pleasure and anticipa- compositional technique. This confer- tion that this conference is taking place ence will give a chance to musicolo- Organizing Committee: Foreword .................................... 3 in the context of “2019 - Skalkottas gists and musicians to present their Thanassis Apostolopoulos Year”. The conference is dedicated to research on Skalkottas and his environ- the life and works of Nikos Skalkottas ment. It is also happening Today, one Alexandros Charkiolakis Schedule .................................... 4 (1904-1949), one of the most important year after the Aimilios Chourmouzios- Titos Gouvelis Greek composers of the twentieth cen- Marika Papaioannou Foundation depos- tury, on the occasion of the 70th anni- ited the composer’s archive at the Music Petros Fragistas Abstracts .................................... 9 versary of his death and the deposition Library of Greece “Lilian Voudouri” of Vera Kriezi of his Archive at the Music Library of The Friends of Music Society to keep Greece “Lilian Voudouri” of The Friends safe, document and make it available for Martin Krithara Biographies ............................. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title The Greek Body in Crisis: Contemporary Dance as a Site of Negotiating and Restructuring National Identity in the Era of Precarity Permalink https://escholarship.org/uc/item/0vg4w163 Author Zervou, Natalie Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE The Greek Body in Crisis: Contemporary Dance as a Site of Negotiating and Restructuring National Identity in the Era of Precarity A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Natalie Zervou June 2015 Dissertation Committee: Dr. Marta Elena Savigliano, Chairperson Dr. Linda J. Tomko Dr. Anthea Kraut Copyright Natalie Zervou 2015 The Dissertation of Natalie Zervou is approved: Committee Chairperson University of California, Riverside Acknowledgments This dissertation is the result of four years of intensive research, even though I have been engaging with this topic and the questions discussed here long before that. Having been born in Greece, and having lived there till my early twenties, it is the place that holds all my childhood memories, my first encounters with dance, my friends, and my family. From a very early age I remember how I always used to say that I wanted to study dance and then move to the US to pursue my dream. Back then I was not sure what that dream was, other than leaving Greece, where I often felt like I did not belong. Being here now, in the US, I think I found it and I must admit that when I first begun my pursuit in graduate studies in dance, I was very hesitant to engage in research concerning Greece. -
Interviste E Conversazioni
Interviews with Michelangelo Pistoletto Marcello Venturoli, Dialogo con Pistoletto, in “Tutti gli uomini dell’arte”, Milano, 1968 Guido Boursier, Far scattare nella gente meccanismi di liberazione, in “Sipario”, n. 276, Milano, April 1969 Germano Celant, Intervista con Michelangelo Pistoletto, Genova, February 1971, in Germano Celant, “Michelangelo Pistoletto”, catalogue of the exhibition, Palazzo Grassi, Venezia, 1976 (Ed. Electa) Achille Bonito Oliva, Michelangelo Pistoletto, Torino 1972, in “Enciclopedia della parola. Dialoghi d'artista. 1968-2008”, ed. Skira, Milano 2008 Mirella Bandini, Torino 1960-73, in “Nac”, n. 3, Bari, March 1973, re- published in Mirella Bandini, “1972 - Arte Povera a Torino”, Allemandi Editore, Torino, 2002 Mirella Bandini, Il significato di Gallizio per la nuova generazione, in “Pinot Gallizio e il laboratorio sperimentale d’Alba”, catalogue of the exhibition, Galleria Civica d’Arte Moderna, Torino 1974 Umberto Allemandi, Specchio delle mie brame, in “Bolaffi Arte”, anno VII, n. 57, Milano, February - March 1976 Francesco Prestipino, Viaggio nelle stanze di Michelangelo Pistoletto, in “Le Arti”, anno XXVI, n. 4, Milano, April 1976 l.k.. Un palcoscenico tutto bianco, in “La Repubblica”, Roma, 10 June 1977 Giuseppe Risso, Pistoletto. Datemi uno specchio, in “Gazzetta del Popolo”, Torino, 4 May 1978 no author (the name of the author of the interview is not mentioned in the publication, henceforth abbreviated n.a.), Pistoletto an 14 Orten in Berlin, transcript of the conference/debate with Pistoletto at Hochschule der Künste, 3 November 1978, in “Kunstmagazin”, n. 4, Mainz, 1978 Anne Livet, An Interview with Maynard Jackson and Michelangelo Pistoletto, in “Contemporary Art/Southeast, Volume II, n. 2, Michelangelo Pistoletto in the South”, Atlanta 1979 Michael Auping, Venus of the rags, 18 December 1979, Berkeley, in 30 years interviews and outtakes, ed. -
Timeline / 1810 to 1930
Timeline / 1810 to 1930 Date Country Theme 1810 - 1880 Tunisia Fine And Applied Arts Buildings present innovation in their architecture, decoration and positioning. Palaces, patrician houses and mosques incorporate elements of Baroque style; new European techniques and decorative touches that recall Italian arts are evident at the same time as the increased use of foreign labour. 1810 - 1880 Tunisia Fine And Applied Arts A new lifestyle develops in the luxurious mansions inside the medina and also in the large properties of the surrounding area. Mirrors and consoles, chandeliers from Venice etc., are set alongside Spanish-North African furniture. All manner of interior items, as well as women’s clothing and jewellery, experience the same mutations. 1810 - 1830 Tunisia Economy And Trade Situated at the confluence of the seas of the Mediterranean, Tunis is seen as a great commercial city that many of her neighbours fear. Food and luxury goods are in abundance and considerable fortunes are created through international trade and the trade-race at sea. 1810 - 1845 Tunisia Migrations Taking advantage of treaties known as Capitulations an increasing number of Europeans arrive to seek their fortune in the commerce and industry of the regency, in particular the Leghorn Jews, Italians and Maltese. 1810 - 1850 Tunisia Migrations Important increase in the arrival of black slaves. The slave market is supplied by seasonal caravans and the Fezzan from Ghadames and the sub-Saharan region in general. 1810 - 1930 Tunisia Migrations The end of the race in the Mediterranean. For over 200 years the Regency of Tunis saw many free or enslaved Christians arrive from all over the Mediterranean Basin. -
CV Photo/Ciel Variable, Montreal, No
A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University, -
We'll Meet Again Bios ΕΝ
ADDITIONAL INFORMATION ON WE’LL MEET AGAIN PARTICIPANTS Agent Mo, Amateurboyz, Giorgio Andreotta Calò, Andreas Angelidakis, Anastasia Ax, AZA, Athens Zine Biblioteque, George-Ikaros Babassakis & Eleanna Martinou, Tjorg Douglas Beer, Angela Brouskou & Parthenopi Bouzouri, Vincent Chomaz, Angela Dimitrakaki, Pakui Hardware, Katerina Kana, Valentinas Klimašauskas, Dimitris Kotselis, Eleni Kotsoni, Mikko Kuorinki, Quinn Latimer, Locus Athens, Pantelis Pantelopoulos, Giorgos Papadopoulos, Natasha Papadopoulou / Giannis Loukos / Eleftheria Togia, Angelo Plessas, Dimitris Politakis, Theo Prodromidis, Lars Siltberg, Mårten Spångberg, Jennifer Teets, Paolo Thorsen-Nagel Agent Mo Marina Gioti (aka Agent Mo, GR, 1972) is a filmmaker / visual artist based in Athens, Greece. She is currently in post production of her first feature length film The Invisible Hands, a documentary set in Cairo, Egypt. Amateurboyz Amateurboyz, Spiros Pliatsikas and Thodoris Dimitropoulos, are a DJ-crew and party collective. For a decade they’ve been one of the most influential contributors to the underground scene in Athens presenting art, music and live events in obscure venues throughout the city. Their organic take on music and DYI-culture has also brought them to several venues across Europe (London, Berlin, Belgrade, Florence, Istanbul, Moscow) and international acclaim. Giorgio Andreotta Calò Giorgio Andreotta Calò research developed though a process of withdrawing fragments from reality and the re-appropriation of architecture, landscape and his own history. His artworks may be interpreted as “active residues” of processes and actions that have take place in a specific time and space. Born in Venice in 1979, he studied at the Accademia di Belle Arti di Venezia (1999-2005) and at the KunstHochSchule Berlin (2003-2004). -
The Role of the Media in Greek-Turkish Relations –
The Role of the Media in Greek-Turkish Relations – Co-production of a TV programme window by Greek and Turkish Journalists by Katharina Hadjidimos Robert Bosch Stiftungskolleg für Internationale AufgabenProgrammjahr 1998/1999 2 Contents I. Introduction 4 1. The projects’ background 5 2. Continuing tensions in Greek-Turkish relations 5 3. Where the media comes in 6 i. Few fact-based reports 6 ii. Media as “Watchdog of democracy” 6 iii. Hate speech 7 4. Starting point and basic questions 7 II. The Role of the Media in Greek- Turkish relations 8 1. The example of the Imia/ Kardak crisis 8 2. Media reflecting and feeding public opinion 9 III. Features of the Greek and Turkish Mass Media 11 1. The Structure of Turkish Media 11 a) Media structure dominated by Holdings 11 i. Television 11 ii. Radio 12 iii. Print Media 12 b) Headlines and contents designed by sales experts 12 c) Contents: opinions and hard policy issues prevail 13 d) Sources of Information 13 e) Factors contributing to self-censorship 13 f) RTÜK and the Ministry of Internal Affairs 15 g) Implications for freedom and standard of reportage 16 2. The Structure of the Greek Media 17 a) Concentration in the Greek media sector 17 b) Implication for contents and quality of reportage 18 IV. Libel Laws and Criminal charges against journalists 19 V. Forms of Hate speech 20 1. “Greeks” and “Turks” as a collective 20 2. Use of Stereotypes 20 3. Hate speech against national minorities and intellectuals 22 4. Other forms of hate speech 22 a) Omission of information/ Silencing of non-nationalist voices 22 b) Opinions rather than facts 23 c) Unspecified Allegations on hostile incidents 23 3 d) False information – a wedding ceremony shakes bilateral relations 24 e) Quoting officials: vague terms and outspoken insults 24 f) Hate speech against international organisations 25 VI. -
Documenta 14: Benaki Museum
OPINION - 08 APR 2017 documenta 14: Benaki Museum The third in a series of our editors initial impressions from documenta 14 Athens, Jennifer Higgie on the Benaki Museum B Y JENNIFER HIGGIE During the press conference on 6 April that launched documenta 14 in Athens, the artistic director, Adam Szymczyk, made an impassioned plea: he asked us to unlearn what we know and immerse ourselves in the darkness of not knowing. He also declared: We must assume responsibility and act as political subjects instead of simply leaving it to elected representatives. Now thats what I call a mixed message. Surely, to become a political subject means discovering how to instigate change, which would, Id assume, involve a great deal of learning not its opposite. And as for unlearning: while Im the rst to admit my ignorance of many things, I also like to think that some of the stu I know isnt so bad. Although Szymczyks request obviously stems from a desire to prise open closed minds, the reverse also holds true: the darkness of not knowing is what got much of the world into the mess its in today and I, for one, dont particularly want to immerse myself in it. It begs the question: was Documentas director being ironic when he titled the show Learning from Athens? I assume not, as many of the themes that have dominated Greece over the past decade economic instability, the refugee crisis, political extremism are the ones that shape this enormous, multi-faceted exhibition. The strength of Learning from Athens lies in its recognition of the worlds and by association arts complexity. -
Elizabeth Pierce Blegen (1888-1966 by Elizabeth Langridge-Noti
Elizabeth Pierce Blegen (1888-1966 by Elizabeth Langridge-Noti American Classical archaeologist Elizabeth Denny Pierce was born in Allegheny, Pennsylvania on June 26, 1888 to Flora McKnight and her husband William Lemmex Pierce. Elizabeth attended Vassar College from 1906-1910, where she developed a love for the Classical world and continued through 1912 to receive an M A in Latin. A number of women at Vassar served as role models for her interest in the Classics and encouraged her to pursue this line of study. The most important of these women was to become her lifelong companion, Ida Thallon (Hill) (q.v.), who was credited by Elizabeth with introducing her to Greek archaeology and to many of the classicists and archaeologists who formed part of this community. Another influence at Vassar was Elizabeth Hazelton Haight, a feminist classicist who focused on the Roman world and pushed forward the role of women in the Classics in a number of ways, being the first woman to serve on the board of the American School of Classical Studies at Rome and the first woman chair of the American Philological Association. Other professors and later colleagues who influenced Elizabeth’s intellectual development were Grace Harriet Macurdy (q.v.) and Catherine Saunders, both of the Vassar Classics department. From 1912 to 1915 Elizabeth Pierce did further graduate work at Columbia University, possibly because Ida Thallon had done so, obtaining her Ph.D. in 1922. While there, she taught at her alma mater, Vassar College, from 1915 to 1922 in the field of Art History and also served as assistant curator in the school’s Art Gallery for seven years. -
Vlassis Caniaris
www.TeamGallery.com Vlassis Caniaris 1928 Born Athens, Greece Lives and works in Athens, Greece Education: 1959 School of Fine Arts, Rome, Italy 1950-1955 School of Fine Arts, Athens, Greece (studios of Umberto Argyros, Yiannis Pappas, Panos Sarafianos and Yiannis Moralis) 1949-1950 University of Athens, School of Medicine, Greece One Person Exhibitions: 2010 Galerie Giti Nourbakhsch, Berlin, Germany, As it was before the day before yesterday, so it will be the day after the day after tomorrow Art 41 Basel, Basel, Switzerland, Art Feature, Vlassis Caniaris (under the auspices of the Breeder) 2009 The Breeder, Athens, Greece Arnados School, Tinos, Greece, Genethlion Kalfayan Gallery, Athens, Greece, Arrivederci-Wilkommen 2008 Benaki Museum, Athens, Greece, Anniversary 2004 Municipal Art Gallery of Chania, Crete, Greece Zina Anastasiadou Gallery, Thessaloniki, Greece 2003 Foundation for Hellenic Culture, New York, United States 2000 State Museum of Contemporary Art, Thessaloniki, Greece, Retrospective Zina Anastasiadou Gallery, Thessaloniki, Greece 1999 National Gallery, Athens, Greece, Retrospective 1996 Aria Gallery, Argostaoll, Kefalona Island, Greece 1993 Galerie 3, Athens, Greece Team gallery, inc., 83 grand st New york, ny 10013 tel. 212.279.9219 fax. 212.279.9220 www.TeamGallery.com 1992 Staatliche Kunsthaus, Berlin, Germany 1991 Cultural Center Vafopoulou, Thessaloniki, Greece Paratiritis Gallery, Thessaloniki, Greece Karl Ernst Osthaus-Museum, Hagen, Germany 1989 Titanium Gallery, Athens, Greece Municipal Gallery, Patras, Greece -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 UNNEGOTIATED TRANSITION . SUCCESSFUL OUTCOME: THE PROCESSES OF DEMOCRATIC CONSOLIDATION IN GREECE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Neovi M, Karakatsanis, B.A., M.A. -
Digital Television Policies in Greece
D i g i t a l Communication P o l i c i e s | 29 Digital television policies in Greece Stylianos Papathanassopoulos* and Konstantinos Papavasilopoulos** A SHORT VIEW OF THE GREEK TV LANDSCAPE Greece is a small European country, located on the southern region of the Balkan Peninsula, in the south-eastern part of Europe. The total area of the country is 132,000 km2, while its population is of 11.5 million inhabitants. Most of the population, about 4 million, is concentrated in the wider metropolitan area of the capital, Athens. This extreme concentration is one of the side effects of the centralized character of the modern Greek state, alongside the unplanned urbanization caused by the industrialization of the country since the 1960s. Unlike other European countries, almost all Greeks (about 98 per cent of the population) speak the same language, Greek, as mother tongue, and share the same religion, the Greek Orthodox. Greece has joined the EU (then it was called the European Economic Community) in the 1st of January, 1981. It is also a member of the Eurozone since 2001. Until 2007 (when Bulgaria and Romania joined the EU), Greece was the only member-state of the EU in its neighborhood region. Central control and inadequate planning is a “symptom” of the modern Greek state that has seriously “infected” not only urbanization, but other sectors of the Greek economy and industry as well, like for instance, the media. The media sector in Greece is characterized by an excess in supply over demand. In effect, it appears to be a kind of tradition in Greece, since there are more newspapers, more TV channels, more magazines and more radio stations than such a small market can support (Papathanassopoulos 2001).