“Comparative Urbanism” in Post- Fordist Cities
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Boso's- Lfe of Alexdnder 111
Boso's- Lfe of Alexdnder 111 Introduction by PETER MUNZ Translated by G. M. ELLIS (AG- OXFORD . BASIL BLACKWELL @ Basil Blackwell 1973 AI1 rights Reserved. No part of this publication may be reproduced, stored in a retrieval System, or uansmitted, in any form or by. any. means, electronic, mechanical, photo- copying, recording or otherwise, without the prior permis- sion of Basil Blackwell & Mott Limited. ICBN o 631 14990 2 Library of Congress Catalog Card Num'cer: 72-96427 Printed in Great Britain by Western Printing Services Ltd, Bristol MONUMENTA GERilAANIAE I-' 11.2' I d8-:;c,-q-- Bibliothek Boso's history of Pope Alexander I11 (1159-1181) is the most re- markable Part of the Liber Pontificalis. Unlike almost all the other contributions, it is far more than an informative chronicle. It is a work of history in its own right and falsely described as a Life of Alexander 111. Boso's work is in fact a history of the Iong schism in the church brought about by the double election of I159 and perpet- uated until the Peace of Venice in I 177. It makes no claim to be a Life of Alexander because it not only says nothing about his career before his election but also purposely omits all those events and activities of his pontificate which do not strictly belong to the history of the schism. It ends with Alexander's return to Rome in 1176. Some historians have imagined that this ending was enforced by Boso's death which is supposed to have taken piace in 1178.~But there is no need for such a supposition. -
Front Matter
Cambridge University Press 978-1-107-14770-6 — Turin and the British in the Age of the Grand Tour Edited by Paola Bianchi , Karin E. Wolfe Frontmatter More Information i Turin and the British in the Age of the Grand Tour h e Duchy of Savoy i rst claimed royal status in the seventeenth century, but only in 1713 was Victor Amadeus II, Duke of Savoy (1666– 1732), crowned King of Sicily. h e events of the Peace of Utrecht (1713) sanc- tioned the decades- long project the Duchy had pursued through the con- voluted maze of political relationships between foreign powers. Of these, the British Kingdom was one of their most assiduous advocates, because of complementary dynastic, political, cultural and commercial interests. A notable stream of British diplomats and visitors to the Sabaudian capital engaged in an extraordinary and reciprocal exchange with the Turinese during this fertile period. h e l ow of travellers, a number of whom were British emissaries and envoys posted to the court, coincided, in part, with the itineraries of the international Grand Tour which transformed the capital into a gateway to Italy, resulting in a conl agration of cultural cosmopolitanism in early modern Europe. PAOLA BIANCHI teaches Early Modern History at the Universit à della Valle d’Aosta. She has researched and written on the journeys of various English travellers who came to Italy in the eighteenth century to be pre- sented at the Savoy court and to be part of Piedmont society. Her pub- lications include Onore e mestiere. Le riforme militari nel Piemonte del Settecento (2002); Cuneo in et à moderna. -
Press Release WILLIAM KENTRIDGE Preparing the Flute
Press release WILLIAM KENTRIDGE Preparing the Flute Opening Wednesday 16 November 2005, 5.00 pm – 9.00 pm, Galleria Lia Rumma Naples, Via Vannella Gaetani, 12 Tel.+39.081.7643619, Fax+39.081.7644213 e-mail [email protected] –web: www.gallerialiarumma.it Gallery opening times: from Tuesday to Friday from 4.30 pm to 7.30 pm – on other days by appointment During 2005, William Kentridge was responsible for the sets and the direction of The Magic Flute by Wolfgang Amadeus Mozart for the opening of the new season of Brussels La Monnaie/De Munt Opera House, as part of an initiative promoted by the same theatre with Foundation of the San Carlo Opera House in Naples, the Lille Opera House and the Theatre of Caen. The project to be shown at the Lia Rumma Gallery in Naples is entitled Preparing the Flute and presents a reduced scale interior of a theatre which refers to the set design adopted in Brussels. The structure has a series of five progressive wings which mark out the perspective of the space and act as a frame for the video projected onto the end wall. At the same time other animated images, these also drawn with white lines onto a black background are projected frontally using the lateral wings as screens. The video and the drawings on display in the exhibition show landscapes and figures that allude, often in ironical fashion, to the events and characters from Mozart’s opera. In this way, the themes which are already present in other of Kentridge’s works – such as the caged lion, the metamorphosis whereby objects are transformed into animals, the broken lines that become brightly lit paths.. -
The History of Painting in Italy, Vol. V
The History Of Painting In Italy, Vol. V By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK III. BOLOGNESE SCHOOL. During the progress of the present work, it has been observed that the fame of the art, in common with that of letters and of arms, has been transferred from place to place; and that wherever it fixed its seat, its influence tended to the perfection of some branch of painting, which by preceding artists had been less studied, or less understood. Towards the close of the sixteenth century, indeed, there seemed not to be left in nature, any kind of beauty, in its outward forms or aspect, that had not been admired and represented by some great master; insomuch that the artist, however ambitious, was compelled, as an imitator of nature, to become, likewise, an imitator of the best masters; while the discovery of new styles depended upon a more or less skilful combination of the old. Thus the sole career that remained open for the display of human genius was that of imitation; as it appeared impossible to design figures more masterly than those of Bonarruoti or Da Vinci, to express them with more grace than Raffaello, with more animated colours than those of Titian, with more lively motions than those of Tintoretto, or to give them a richer drapery and ornaments than Paul Veronese; to present them to the eye at every degree of distance, and in perspective, with more art, more fulness, and more enchanting power than fell to the genius of Coreggio. Accordingly the path of imitation was at that time pursued by every school, though with very little method. -
A Critique of the Fordism of the Regulation School
A Critique of the Fordism of the Regulation School Ferruccio Gambino1 Introduction Some of the categories that people have used in recent years to describe the changes taking place in the world of production, such as Fordism, post-Fordism and immaterial production, have shown themselves to be rather blunt instruments.2 Here I intend to deal with the use of the concepts “Fordism” and “post-Fordism” by the regulation school, which has given a particular twist to the former term, and which coined ex novo the latter. The aim of my article is to help break the conflict-excluding spell under which the regulation school has succeeded in casting Fordism and post-Fordism. From midway through the 1970s, as a result of the writings of Michel Aglietta3 and then of other exponents of the regulation school, 1 The English version of this paper appeared in 1996 in Common Sense no. 19 and was subsequently published as a chapter in Werner Bonefeld (ed), Revolutionary Writing: Common Sense Essays In Post-Political Politics Writing, New York, Autonomedia, 2003. 2 For a timely critique of the term “immaterial production”, see Sergio Bologna, “Problematiche del lavoro autonomo in Italia” (Part I), Altreragioni, no. 1 (1992), pp. 10-27. 3 Michel Aglietta, (1974), Accumulation et régulation du capitalisme en longue période. L’exemple des Etats Unis (1870-1970), Paris, INSEE, 1974; the second French edition has the title Régulation et crises du capitalisme, Paris, Calmann- Lévy, 1976; English translation, A Theory of Capitalist Regulation: the US Experience, London and New York, Verso, 1979; in 1987 there followed a second English edition from the same publisher. -
The Domestication of Ford Model T in Denmark
Aalborg Universitet The Domestication of Ford Model T in Denmark Wagner, Michael Publication date: 2009 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Wagner, M. (2009). The Domestication of Ford Model T in Denmark. Paper presented at Appropriating America Amsterdam, Amsterdam, Netherlands. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: September 24, 2021 The domestication of Ford Model T in Denmark By Michael F. Wagner, Institute for History and Social Studies, Aalborg University Ford Motor Company started to operate on a commercial level in Denmark from 1907 by appointing a sales agent, Bülow & Co., as importer of Ford automobiles to the Scandinavian market. The major breakthrough for the company on a global scale came with the introduction of the Model T by the end of 1908. -
Andrea Bruno at the Velasca Tower
Milan, 9 May 2016 Starting today, the Velasca Tower will host an exhibition dedicated to an Italian master architect PROGETTARE L’ESISTENTE (DESIGNING THE EXISTING) ANDREA BRUNO AT THE VELASCA TOWER At the Velasca Tower, an exhibition of the architect Andrea Bruno expands on the themes of recovery and conservation A tribute to the architect Andrea Bruno before his departure for Paris where he will be awarded an honorary degree by the Conservatoire national des arts et métiers on 13 May Until 5 July, the Velasca Tower will host a retrospective exhibition dedicated to Andrea Bruno, an Italian mater architect who has linked his name to the design of museums and the ingenious conversion of historic buildings. For Andrea Bruno, transformation is “the only way to guarantee the preservation of memories through architecture”. The Velasca Tower, which has always represented the perfect synthesis of tradition and innovation, is thus the ideal location to display some of the main projects by the architect Andrea Bruno. During his professional career, Bruno has found the right balance between historic value and functionality, highlighting how the restoration of architectural icons can still be an opportunity for functional and economic historical enhancement. On display are 16 models, photographs, original sketches and technical drawings of some of the many projects realised from the 60s up until today, through which it is possible to understand the profound meaning of Designing the Existing for Bruno. An approach that starts with the identification of the correct use for the “existing” in order to enhance the same through innovative and always original design solutions that ensure its conservation over time. -
The Paradox of Positivism
Dylan Riley The Paradox of Positivism The essays in The Politics of Method in the Human Sciences contribute to a historical and comparative sociology of social science by systematically com- paring the rises, falls, and absences of ‘‘methodological positivism’’ across the human sciences. Although all of the essays are of extremely high quality, three contributions develop the argument most fully: George Steinmetz’s introduction and William H. Sewell Jr.’s and Steinmetz’s contributions to the volume. My remarks focus on these three pieces, drawing on the other contributions to illustrate aspects of the argument or to suggest tensions that need exploration. What Is Positivism? What are the authors trying to explain? The term positivism has at least three meanings. It can be a commitment to social evolution in the sense of Auguste Comte and Emile Durkheim. It can refer to an articulated philosophical tra- dition: logical positivism. Or it can refer to a set of scientific research prac- tices: methodological positivism. It is the last meaning that is most relevant for Steinmetz (2005c: 109). Methodological positivism refers to a concept of knowledge, a concept of social reality, and a concept of science. First, it is an epistemology that identifies scientific knowledge with covering laws—that is, statements of the type ‘‘if A occurs, then B will follow.’’ Second, it is an ontology that equates existence with objects that are observable. Third, it is associated with a self- understanding of scientific activity in which social science is independent -
Monarchs Retired from Business
MONAECHS RETIRED PROM BUSINESS. '^^<^<^<X (0)F S WE 32) IS W 3320S MONARCHS RETIRED FROM BUSINESS. BY DR. DORAN, AUTHOR OP ' KNIGHTS AND THEIR DATS,' ' QUEENS OP ENGLAND OF THE HOUSE OF HANOVEB," ' HABITS AND MEN, 'TABLE TEAITS AND SOMETHING ON THEM.' IN TWO VOLUMES. VOLUME II. ' I've thought, at gentle and ungentle hour, Of many an act and giant-shape of power, Of the old Kings with high-exacting looks, Sceptred and globed." LEIGH HUNT. LONDON : RICHARD BENTLEY, NEW BURLINGTON STREET, ^jluiilisfjer in tiinarg t0 |^er fHajrstg. 1857. [The right of Translation is reserved^] PRINTED BY JOHN EDWABD TAYLOR, LITTLE QUEEN STEEET, LINCOLN'S INN FIELDS. CONTENTS OP THE SECOND VOLUME. PAGE INCIDENTS IN THE LIYES OF RETIRED MONAECHS, DOWN TO THE DEATH OF VALERIAN 1 DIOCLETIAN 16 MAXIMIAN TO ROMULUS AUGUSTUS 30 3Kje Eastern Empire. GRAVE OB CLOISTER 46 THE BYZANTINE C^SARS OF THE ICONOCLASTIC PERIOD . 59 THE BASILIAN DYNASTY. MONARCHS AMONG THE MONKS . 77 THE COMNENI. MORE TENANTS FOR STUDION 88 THE BALDWINS 96 THE MOST CHRISTIAN KING, MONK ANTONY 102 THE PAPAL DYNASTY 112 ----- :*=== THE THREE Pn 136 Russia. THE CZARS 168 IVAN VI 175 Sardinia. VICTOR AMADEUS 1 195 THREE CHOWNLESS KINGS , . 205 VI CONTENTS. PAGE EEIC IX. CHBISTIAX II.............. 218 SWEDEN ................... 233 THE STOBY OF EEIC XIV............. 240 CHEISTINA .................. 255 GUSTAVUS IV............... 308 Spam. PHILIP V................... 330 CHABLES IV.................. 334 Portugal. SANCHO II................... 350 ALPHONSO VI.................. 354 Curfeeg. THE Two BAJAZETS ............... 373 Conclusion .............. 394 MONARCHS RETIRED FROM BUSINESS, FROM JULIUS TO YALERIAN. " Here a vain man his sceptre breaks, The next a broken sceptre takes, And warriors win and lose ; This rolling world will never stand, Plunder'd and snatch'd from hand to hand, As power decays or grows." ISAAC WATTS. -
ARRE Study Days 2012 Lite EN-1
ARRE Study Days 2012 Royal Residences, History and Territory: the experience of Piedmont Reggia di Venaria (16 – 23 June 2012) This year the second edition of the “ARRE Study Days” will be held at the Reggia di Venaria, near Turin - the ancient capital of the State of Savoy - from Saturday, June 16 to Saturday, June 23, 2012. The Summer School is organised by the Department of Culture of Regione Piemonte and the Research Department of the Reggia di Venaria, in collaboration with the Ministry for Cultural Heritage and Activities – Regional Department for Cultural Heritage and Landscape of Piedmont. The theme of this year’s ARRE Summer School is Royal Residences, History and Territory: the experience of Piedmont. Piedmont is a region traditionally characterised by an industrial vocation, that made it one of the drivers of Italy’s development. However, deep changes have occurred over the past twenty years and the Region’s eminently industrial vocation has been replaced by tourist appeal. This process is particularly evident in the Region’s capital, Turin, a city that was regarded for years as Italy’s Detroit for its automotive industry and perceived as a grim factory town. In less than one generation, Turin has managed to restore the glory of its past as an ancient capital of baroque and successfully consolidated its new status as a major tourist destination. According to the data from the National Tourist Bureau during the Christmas Holidays of 2010-11 and 2011-12 tourists chose Turin over such fierce competitors as Venice, Florence and Milan: a scenario that would have been simply unthinkable only a decade ago. -
Tour of the Royal Residences and Tasting Itinerary
TOUR OF THE ROYAL RESIDENCES AND TASTING ITINERARY Art, history, flavours, fragrances and colours will be the leading themes of this inventive itinerary, in order to discover an outstanding artistic heritage, as well as the characteristic products of Piedmontese tradition with an exquisite selection of foods and wines. THE ROYAL HOUSE ROYAL PROGRAM OF SAVOY TASTINGS The origin of the Royal “Royal tastings” offers a tour 1ST DAY: Residences of Savoy dates of some of the residences Tour of Reggia di Venaria; back to the second half of composing the Crown lunch on-site. In the 1500s, when Emmanuel of Delights, from a new afternoon, tour of the Philibert, Duke of Savoy and “tasty” point of view, Castle of Rivoli (Museum moved his capital city to involving history and art, of Contemporary art), royal Turin, commissioning the as well as flavours and tea break at the coffee bar rehash of ancient castles fragrances; the guides of (For the 4 days tour: return and the building of new CulturalWay will lead the to the hotel for dinner and residences along the great visitors in a tour giving them overnight). green area surrounding the the opportunity to live the 2ND DAY: city. The system of the Royal atmosphere of the royal past, Tour of the Castle of Residences reached its period tasting ancient flavours. Racconigi; lunch in a local of grandeur between the The package includes tasting restaurant. In the afternoon, XVII and the XVIII century, itineraries of traditional tour of the Palazzina di Caccia thanks to the establishment products that will be of Stupinigi and tasting of what Amedeo di consumed inside the museum itinerary of characteristic Castellamonte called rooms chosen for the tour and products. -
From Rivoli to Salbertrand Through the Lower Susa Valley, Exploring the Area's Many Historical and Natural Attractions
Itinerari tra cultura, sapori e valli Olimpiche piemonte Exploring the culture, food and Olympic Valleys Copertina a cura di Pensativa, Torino 4 turin revealed torino si svela 11 a stroll through turin a spasso per torino 16 piemonte, a region of europe piemonte, regione d’europa 22 taste and style in piemonte gusto e stile dal piemonte 26 along the via francigena: the susa valley ripercorrendo la via francigena: la valle di susa 31 sport and gastronomy in the lower susa valley la bassa val susa tra sport e gastronomia 36 up the chisone valley... towards sestriere without getting there lungo la statale 23… verso sestriere senza arrivarci mai 44 travel notes on the way to the alps appunti di viaggio sulla rotta delle alpi 48 the vibrant heart of the olympic mountains for people who want more than snow il cuore pulsante delle montagne olimpiche per chi non cerca solo neve 55 the art of good living in the olimpic mountains montagne olimpiche, curiosità e art de vivre 61 the via lattea from top to bottom la via lattea da cima a fondo contents sommario Sant’Anselmo EDITRICE DIRETTORE EDITORIALE Andrea Cenni DIRETTORE RESPONSABILE Guido Barosio ART DIRECTOR Valter Carasso SEGRETARIA DI REDAZIONE Federica Tourn HANNO COLLABORATO Elena Boscolo, Gloria Cardano, Laura Sciolla, Giulia Vola REDAZIONE Via Sant’Anselmo, 11 - 10125 Torino - Tel. 011.650.33.44 (4 linee r.a.) Fax 011.650.70.79 - www.torinomagazine.it [email protected] FOTO Press Image e Valter Carasso GRAFICA E IMPAGINAZIONE Art Café Advertising, Torino Copertina a cura di Pensativa, Torino STAMPA G.