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Czy Nuncjusz I Delegat Apostolski Muszą Być Biskupami? Próba Odpowiedzi Na Pytanie
Przemysław August leWIńskI VeRItatI et caRItatI 6 (2016), 131-160 Nuncjatura Apostolska w Sudanie Czy nuncjusz i delegat apostolski muszą być biskupami? Próba odpowiedzi na pytanie Na początku maju bieżącego roku, podczas prezentacji nowego dodatku do watykańskiego dziennika L’Osservatore Romano zatytu- łowanego Donne Chiesa Mondo, Sekretarz Stanu Stolicy Apostolskiej Kardynał Pietro Parolin przyznał, że – przynajmniej teoretycznie – spra- wowany przez niego urząd mógłby być powierzony również kobiecie. Debata na temat roli osób świeckich w papieskiej dyplomacji nie jest jednak nowa. Szeroka dyskusja na ten temat pojawiła się już podczas obrad Soboru Watykańskiego II. Mimo wszystko do dziś Nuncjusze i Delegaci Apostolscy, nie wspominając już o Legatach a latere, są oso- bami duchownymi, i to w dodatku biskupami. W tym kontekście pojawia się zatem pytanie, czy z prawnego punktu widzenia funkcję tę mógłby sprawować również ktoś pozbawiony sakry biskupiej. Jeśli tak, to być może podstawą obecnej praktyki Stolicy Apostolskiej są inne czynniki. Niniejszy artykuł stara się w sposób syntetyczny nakreślić wspomniane zagadnienie, podjąć się jego analizy – zwłaszcza z prawnego punktu widzenia – i odpowiedzieć na pytanie postawione w tytule1. 1. Dyplomacja Stolicy Apostolskiej Dyplomacja Stolicy Apostolskiej jest jedną z najmniejszych spośród wszystkich reprezentujących podmioty uznane przez Prawo Międzyna- ks. PRzemysłaW august lewińskI – kapłan archidiecezji gdańskiej, doktor prawa kanonicznego, absolwent Papieskiego Uniwersytetu św. Krzyża w Rzymie (licencjat), Papieskiego Uniwersytetu Laterańskiego (doktorat) oraz Papieskiej Akademii Ko- ścielnej, aktualnie sekretarz Nuncjatury Apostolskiej w Sudanie. 1 Analiza przeprowadzona w niniejszym artykule dotyczyć będzie zwłaszcza funkcji Nuncjusza i Delegata Apostolskiego, jako najbardziej rozpowszechnionej formy lega- cji papieskiej. Z innymi jej typami czytelnik zostanie zapoznany w przypisach. 132 Ks. -
9780367508234 Text.Pdf
Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Until the End of the World Music Credits
(Below are the credits for the music in the English version, followed by the credits, in German, for the extended restored version): English-language music credits: Musical Score Graeme Revell Musical Score Graeme Revell Solo Cello and Additional Improvisation David Darling Music Supervision Gary Goetzman and Sharon Boyle Picture and Music Editor Peter Przygodda MUSIC Music Coordinators Barklie K. Griggs Jennifer Quinn-Richardson Dana K. Sano Music Recording and Mixing Studios Tritonus Studios, Berlin Music Editor (Synch) Dick Bernstein (Offbeat Systems) Music Mixing Engineer Gareth Jones 2nd Sound Engineer Gerd Krüger Assistant Maro Birkner Additional Music Recordings Hansa Tonstudios, Berlin MUSIC TITLES IN ORDER OF APPEARANCE: "GALKAN" Appears on "Les Aborigènes, Chants et Danses de l'Australie du Nord" Phonogramme ARN 64056 Courtesy of Arion "SAX & VIOLINS" Performed by Talking Heads Lyrics and Music by David Byrne Music by Chris Frantz, Jerry Harrison, Tina Weymouth Producer Steve Lillywhite and Talking Heads Mixed by Kevin Killen Publisher Bleu Disque Music Co. Inc./ Index Music admin. by WB Music Corp./ASCAP Courtesy of Warner Bros. Records Inc./Sire Records Company/FLY Talking Heads Appear Courtesy of EMI Records Ltd. "SUMMER KISSES, WINTER TEARS" Performed by Elvis Presley Writers Jack Lloyd, Ben Weissman, Fred Wise Publisher WB Music Corp./Erica Music/ ASCAP Courtesy of RCA Records Label of BMG Music "MOVE WITH ME" Performed by Neneh Cherry Writers Neneh Cherry/Cameron Mcvey Producer Booga Bear/Jonny Dollar Publisher Virgin Music Ltd/Copyright Control/ BMI/PRS Courtesy of Circa Records, Ltd. "IT TAKES TIME" Performed by Patti Smith and Fred Smith Writers Fred Smith and Patti Smith Producer Fred Smith Publisher Druse Music Inc/Stratium Music, Inc./ASCAP Courtesy of Arista Records, Inc. -
Country Fact Sheet: ITALY
Country fact sheet: ITALY #EUCreativeCities https://composite-indicators.jrc.ec.europa.eu/cultural-creative-cities-monitor The Cultural and Creative Cities Monitor is a new tool to benchmark the performance of European cities compared to their peers using both quantitative and qualitative data. It provides a common evidence base at city level that helps decision- makers learn from each other and inspires fit-for-purpose policies to boost economic growth and job creation, foster social development and citizens' well-being, and strengthen resilience. This year's first edition covers 168 cities in 30 countries, selected from about 1000 cities in Eurostat’s Urban Audit on the basis of their verifiable engagement in promoting culture and creativity. Being included in the Monitor is thus in itself an acknowledgement of the importance these cities attach to culture and creativity. The Monitor’s quantitative information is captured in 29 indicators. These are grouped into 9 dimensions reflecting 3 major facets of cities’ cultural, social and economic vitality: ‘Cultural Vibrancy’, ‘Creative Economy’ and ‘Enabling Environment’. In addition, qualitative evidence helps illustrate what cities are good at. Selected cities Eight European Capitals of Culture Winners: Bologna, Florence, Genoa and Matera - shortlisted: Cagliari, Lecce, Perugia and Ravenna Three UNESCO Creative Cities: Parma, Rome and Turin Six cities hosting at least two international cultural festivals: Brescia, Milan, Naples, Venice, Trento and Trieste Key findings Milan excels on 'Cultural Vibrancy' (3rd in the XXL group of 21 ranked cities), mostly thanks to its good performance on both Cultural Venues & Facilities (4th) and Cultural Participation & Attractiveness (2nd). Milan is home to a rich offer of cultural landmarks, as well as its continuously growing number of ‘urban’ festivals – such as Book City, and business gatherings – such as Fashion Week. -
Anno XCIV N. 3 Settembre - Dicembre 2016 Il Bollettino Diocesano
Anno XCIV n. 3 Settembre - Dicembre 2016 Il Bollettino Diocesano Periodico Nuova serie Anno XCIV Direttore Responsabile: Riccardo Rampolla Redazione: Biagio Napoletano Natale Scarpitta Revisione testi: Pino Clemente Segretario: Luciano D’Onofrio Sede: Via Roberto il Guiscardo, 2 84121 Salerno Tel. 089.258 30 52 Fax: 089.258 12 41 Tipografia: MULTISTAMPA srl Grafica – Stampa – Editoria 84096 - Montecorvino Rovella (SA) Tel. 089.867712 - www.multistampa.it Reg. Trib. Salerno n.2/2011 del 16/02/2011 Mail: [email protected] www.arcidiocesidisalerno-campagna-acerno.it Dio parla ancora oggi con noi come ad amici, si “intrattiene” con noi[11] per donarci la sua compagnia e mostrarci il sentiero della vita. La sua Parola si fa interprete delle nostre richieste e preoccupazioni e risposta feconda perché possiamo sperimentare concretamente la sua vicinanza. Quanta importanza acquista l’omelia, dove «la verità si accompagna alla bellezza e al bene»,[12] per far vibrare il cuore dei credenti dinanzi alla grandezza della misericordia! Raccomando molto la preparazione dell’omelia e la cura della predicazione. dalla Lettera Apostolica “Misericordia et Misera” di Papa Francesco Settembre/Dicembre 2016 6 Settembre/Dicembre 2016 SANTA SEDE 7 Settembre/Dicembre 2016 Misericordia et misera Misericordia et misera sono le due parole che sant’Ago- stino utilizza per raccontare l’incontro tra Gesù e l’adul- tera (cfr Gv 8,1-11). Non poteva trovare espressione più bella e coerente di questa per far comprendere il miste- ro dell’amore di Dio quando viene incontro al peccatore: «Rimasero soltanto loro due: la misera e la misericordia». Lettera [1] Quanta pietà e giustizia divina in questo racconto! Il suo insegnamento viene a illuminare la conclusione del Apostolica del Giubileo Straordinario della Misericordia, mentre indica Santo Padre, il cammino che siamo chiamati a percorrere nel futuro. -
Co-Ordinated By
Co-ordinated by: Last updated: February 2019 Julia Zelvenska Head of Legal Support and Litigation European Council on Refugees and Exiles (ECRE) Rue Royale 146, 1st floor 1000 Brussels, Belgium Tel: +32 (2) 212 0814 Fax: +32 (2) 514 5922 E-mail: [email protected] CONTENTS A. Introduction Preface i European Council on Refugees and Exiles (ECRE) ii Introduction to ELENA iii B. Countries Austria 1 Belgium 8 Bosnia-Herzegovina 13 Bulgaria 15 Croatia 19 Cyprus 23 Czech Republic 26 Denmark 28 Estonia 32 Finland 34 France 37 Germany 47 Greece 57 Hungary 62 Iceland 65 Ireland 68 Italy 73 Latvia 87 Lithuania 89 Luxembourg 91 Malta 94 The Netherlands 97 Norway 102 Poland 108 Portugal 111 Romania 114 Russia 117 Serbia 121 Slovak Republic 125 Slovenia 128 Spain 133 Sweden 145 Switzerland 153 Turkey 156 Ukraine 159 United Kingdom 161 C. UNHCR Offices 165 D. Format of the country chapters In general the country chapters are structured as follows: I. ELENA NATIONAL COORDINATOR Name and address of the person who serves as the contact and coordination person for the ELENA network for the country in question. II. NATIONAL UMBRELLA ORGANISATIONS / REFUGEE COUNCILS National umbrella organisations of voluntary agencies, counselling offices and lawyers who exercise a coordinating function. III. ORGANISATIONS SUPPORTING ASYLUM SEEKERS Voluntary agencies, counselling centres and other humanitarian organisations dealing with counselling, housing, financial support, integration and other social problems of asylum seekers during the asylum procedure. IV. ORGANISATIONS PROVIDING ADVICE TO ASYLUM SEEKERS Non-Governmental Organisations and voluntary agencies providing legal advice and assistance to asylum seekers. -
XXI:11) Wim Wenders, WINGS of DESIRE/DER HIMMEL ÜBER BERLIN (1987, 128 Min
November 9, 2010 (XXI:11) Wim Wenders, WINGS OF DESIRE/DER HIMMEL ÜBER BERLIN (1987, 128 min) Directed by Wim Wenders Written by Wim Wenders, Peter Handke and Richard Reitinger Produced by Anatole Dauman and Wim Wenders Music by Laurie Anderson, Jürgen Knieper, Laurent Petitgand, Nick Cave Cinematography by Henri Alekan Film Editing by Peter Przygodda Dedicatees: Yasujiro Ozu, François Truffaut, and Andrzei Tarkovsky as Andrzej Bruno Ganz....Damiel Solveig Dommartin....Marion Otto Sander....Cassiel Curt Bois....Homer, the aged poet Peter Falk....Der Filmstar WIM WENDERS (14 August 1945,Düsseldorf, North Rhine- Westphalia, Germany) has directed 45 films, among them Don't Come Knocking 2005, Land of Plenty 2004, “The Soul of a Man” Maudits/The Damned 1947, La Belle et la bête/Beauty and the episode in the PBS series “The Blues” 2003, Buena Vista Social Beast 1946, Vénus aveugle/Blind Venus 1941 and La Vie est à Club 1999, Willie Nelson at the Teatro 1998, The End of nous/The People of France. Violence 1997, Lumière et compagnie/Lumière and Company 1996, Lisbon Story 1994, Bis ans Ende der Welt/Until the End of BRUNO GANZ (22 March 1941, Zürich-Seebach, Switzerland) the World 1991, Wings of Desire/Hummel über Berlin (1987), has acted in 86 films, the most recent of them The Great Farrell Paris, Texas 1984, Hammett 1982, Lightning Over Water/Nick’s 2006 (in production). Some of the others are Der Untergang Film 1980, Der Amerikanische Freund/The American Friend 2004, The Manchurian Candidate 2004, Mia aioniotita kai mia 1977, Der Scharlachrote Buchstabe/The Scarlet Letter 1973, Die mera/Eternity and a Day 1998, Prague 1992, Strapless 1989, Angst des Tormanns beim Elfmeter/The Goalie's Anxiety at the The Legendary Life of Ernest Hemingway 1988, Killer aus Penalty Kick 1972, Alabama: 2000 Light Years from Home 1969, Forida 1983, Rece do gory/Hands Up! 1981, Nosferatu: and Schauplätze 1967. -
Cine – Creative Communities
CINE – CREATIVE COMMUNITIES 20 October 2016 | 9:30 a.m. Rome | Museo Nazionale Romano Palazzo Massimo The international conference Cine-Creative Communities examines the aims and objectives of the UNESCO Action Plan for Rome City of Film, which involves institutional decision-makers, the UNESCO Creative Cities, the Creative Class, and the public and private players who support and invest in film to drive sustainable urban growth and team up with creative cities to promote social inclusion, employment and a thriving business environment. The Programme Opening remarks by Piera Detassis, President of the Fondazione Cinema per Roma Gabriele Mainetti, director and producer “Lo chiamavano Jeeg Robot” 10:00 a.m. – First Panel Public policy for Creative Cities Institutional policies for making creativity a driving force behind the growth of cities and their metropolitan areas; cultural institutions as a force for promotion and innovation. Luca Bergamo, Councillor for Cultural Growth, Roma Capitale Gian Paolo Manzella, Vice President of the Commission for E.U. and International Affairs, Lazio Regional Council Nicola Borrelli, Director of the General Directorate for Cinema, MIBACT Roberto Cicutto, President and CEO, Istituto Luce Cinecittà Franco Bernabè, President CNI UNESCO 11:00 a.m. – Creative Talent at Work “Let’s Play Videogames”, the Videogame Festival “Reaction Roma”, the social movie that takes a look at the city 11:30 a.m. – Second Panel UNESCO Creative Cities at Work The experience of the international network, the possible points of contact between creative clusters and the coordination between Italy’s UNESCO Creative Cities. Luca Lo Bianco, Coordinator, Rome City of Film Declan Gibbons, Galway City of Film, Coordinator of the Network of Creative Cities of Film Francesca Martinese, Bologna City of Music, National Coordinator of UNESCO Creative Cities 12 noon Creative Talent at Work “Oniride”, virtual reality: storytelling with a new voice. -
Catholic Weekly August 9
VOL. 82 NO. 31 Electronic Edition GHANA’S NATIONAL CATHOLIC WEEKLY ESTD. IN 1938 SUNDAY, AUGUST 9, 2020 – SATURDAY, AUGUST 15, 2020 PRICE GH¢2.00 ‘CORONAVIRUS PANDEMIC, A THREAT TO DEMOCRACY’ Rev. Fr. Arturo Sosa, Superior General of the mistake, if we want to make the world more Jesuits has said democracy and efforts to build a fraternal and just.” “To discriminate against migrants is a great more just world in many countries, apart from danger and would be a sign of a world that we do human lives and jobs, are also being threatened by Fr. Sosa the coronavirus pandemic. Continued on page 3 “Democracy can be one of the victims of the pandemic if we do not take care with our political condition,” he told the Vatican News in an interview on July 31 on the eve of the feast of St. Ignatius of Loyola, founder of the Jesuits. Stop Attacks on Peace Pope Francis, also a Jesuit, joined Fr. Sosa and his confreres for a feast-day lunch at the Order's headquarters, near the Vatican. Council – Nana Dr. Asante Fr. Sosa said “At this time, for example, many Story on page 3 governments, including so-called democratic governments, are taking the path of authoritarianism.” Jesuits, inspired by St. Ignatius and other Catholics, he added, know that being close to the poor is always important, but especially during this Pope Says COVID-19 pandemic. “If we are not capable of looking at the world up Pandemic Should Raise close, sharing the point of view of the poor, which is the point of view of the crucified Jesus, then we will make mistakes in our decisions,” he said. -
“City of Gastronomy” of UNESCO Creative Cities Network: from International Criteria to Local Practice
特集号 『社会システム研究』 2017年 7 月 55 “City of Gastronomy” of UNESCO Creative Cities Network: From International Criteria to Local Practice Cheng Xiaomin * Abstract China is among the few countries that have two cities who are granted as “City of Gastronomy” of UNESCO Creative Cities Network,but “City of Gastronomy” in China are less prominent in the orientation of creative industry and the development of creative city. On basis of analyzing the relationship between food and creativity and describing the practice of “Creative Cities Network” from the perspective of creative city, the article uses”Text Analysis” to refine the criteria of “City of Gastronomy” and use Delphi Method to select key dimensions and index in that criteria.Following the specific and filtered index of “City of Gastronomy”,the article reflects the existing problems of the construction of “City of Gastronomy” of China through the comparison of the practice of “City of Gastronomy” from international and local aspects, and proposes that China should carry on the the construction of localization of “City of Gastronomy” in many ways of the orientation of creative industry, folk wisdom of gastronomy, certification system of authentic food,heritage value of gastronomy and creative environment of gastronomy . Keywords Creative City, UNESCO Creative Cities Network, “City of Gastronomy”, Criteria I. Introduction Currently covering seven creative fields, the UNESCO Creative Cities Network (“the Network”) is spearheading the efforts to foster the growth of keys areas within the cultural and creative sector around the world. The designations of “City of Design”, “City of Film” * Correspondence to: Cheng Xiaomin Ph. D student, National Research Center of Cultural Industries, Central China Normal University The 3rd Floor, South building of the Science Hall, No.152. -
Juliette Binoche
II ED. 26 APRILE - 12 MAGGIO 2019 MADRINA Juliette Binoche «L’arte è importante. Rievoca le stagioni dell’anima o di un avvenimento particolare, qualche volta tragico, del viaggio dell’anima. L’arte non serve soltanto a se stessa, non è soltanto un segno che ci aiuta a comprendere la sua evoluzione, ma è anche una mappa che indica la strada a chi verrà dopo di noi!» (Clarisse Pinkola Estés, Femmes qui Courent avec les loups) I LUOGHI DEL FESTIVAL ORSOGNA Mar Adriatico Teatro Comunale "Camillo De Nardis", Piazza Mazzini ORTONA Galleria Dama di Annamaria D'Ancona, Piazza Mazzini, 51 Foyer Teatro Comunale "Camillo De Nardis", Piazza Mazzini CRECCHIO Auditorium "Santa Maria da Piedi", Corso Umberto I ORTONA CRECCHIO Teatro Comunale "Francesco Paolo Tosti", Corso Garibaldi 7 ORSOGNA una produzione Comune di con il sostegno di Orsogna Comune di in collaborazione con Comune di Majella Crecchio Ortona STAFF INDICE DIREZIONE ARTISTICA 07 ARTINVITA–DECLINAZIONE ARTISTICA E Amahí Camilla Saraceni CONTENUTI Marco Cicolini 08 ARTINVITA FESTIVAL SOCIALE RESPONSABILE RELAZIONI PUBBLICHE Viviana Agretti 10 LA SECONDA EDIZIONE COMUNICAZIONE 13 PROGRAMMA 2019 Ufficio Stampa / Alessandra Farias Graphic Designer / Francesca Carullo 28 GLI ARTISTI OSPITI Video Making / Noemi Verrina Web Marketing / Fabio Salerno 38 LO STAFF Fotografia / Roberta Verzella Stampa / Art Nouveau Studio 44 CONTATTI RESPONSABILE TECNICO Renato Baratucci ASSISTENTI ALLA TECNICA Riccardo Taraborrelli Nicola Bucci RESPONSABILE ESPOSIZIONI Sofia Ciancio AMMINISTRAZIONE Nicla Ciancio ARTINVITA di location per spettacoli dal vivo (non solo teatri, ma piuttosto spazi DECLINAZIONE ARTISTICA E CONTENUTI non teatrali, magari marginali: piazze, cortili, castelli di piccoli villaggi, luoghi “vergini” e poco visitati dal turismo abruzzese). -
Hubert Bals Fund
International Film Festival Rotterdam Hubert Bals Fund Annual Report 2015-2016 Table of Contents Brief overview 2015-2016 5 Appendix 18 Background Hubert Bals Fund 7 Organisation and selection committee 18 Activities and Results 11 Statement of Income and Expenditure 18 Selection Process 11 HBF selected projects 21 Funding film projects 11 HBF Harvest at IFFR 2016 25 Festival circulation and distribution 13 Circulation overview of HBF-supported films 26 HBF network 17 Credits 35 2 3 Ixcanul, Jayro Bustamante, Guatemala, 2015 Filmmakers’ Stories: Felipe Guerrero Brief overview of Colombian filmmaker Felipe Guerrero 2015-2016 has just turned forty. He has been The Hubert Bals Fund (HBF) started out as a pioneer. Since 1988, the editing documentaries for many years. HBF has helped talent from Africa, Asia, Latin America, the Middle East At International Film Festival Rotterdam, and parts of Eastern Europe to make their film dreams reality. The success he presented his third film: Oscuro of HBF-backed films in Rotterdam and abroad is proof of the synergetic animal. A film that follows the journeys effectiveness of the three-stage rocket launcher made up of International of three women forced by the violence Film Festival Rotterdam, CineMart and HBF. of war to flee their homes and survive in the rainforest. Like his previous two films, Oscuro Since its foundation in 1988, the Fund has contributed to Financial situation 1,103 projects from Asia, Africa, Latin America, the Middle The HBF is supported by the Creative Europe MEDIA animal (literally: dark animal) is about East and parts of Eastern Europe.