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Conditions of Use Preamble
CONDITIONS OF USE PREAMBLE ................................................................ 4 A GENERAL SECTION ...................................................... 4 § 1 Purpose ................................................................. 4 § 2 Legal relationship between users and library, reader pass ...................... 4 § 3 Fees, charges ............................................................. 5 § 4 Issue of Reader Passes .................................................... 5 § 5 General obligations and liability of users ..................................... 6 § 6 Supervisory rights of the State Library ...................................... 7 § 7 Liability of the State Library ................................................ 7 B USE OUTSIDE THE STATE LIBRARY ..................................... 8 § 8 General borrowing regulations ............................................. 8 § 9 Borrowing and returning ................................................... 8 § 10 Lending period and renewal ............................................... 9 § 11 Reminders, acquiring replacements ........................................ 9 § 12 Reservations and notifications ........................................... 10 With effect from October 1st 2019, the basic fees for the use of the Staatsbibliothek, i.e. the fees for annual and monthly tickets, will C USE INSIDE THE LIBRARY .............................................. 10 be suspended for a period of two years. The passages highlighted in § 13 Using the reading rooms ................................................ -
The Arrival of the First Film Sound Systems in Spain (1895-1929)
Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. -
The Response of Elite European Merchant Companies to European Expansion Into Asia and the Americas, C.1492-C.1530
The Response of Elite European Merchant Companies to European Expansion into Asia and the Americas, c.1492-c.1530 Eleanor Marie Russell Pembroke College November 2019 This dissertation is submitted for the degree of Doctor of Philosophy. Declaration This thesis is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my thesis has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit for the relevant Degree Committee. 2 Abstract The Response of Elite European Merchant Companies to European Expansion into Asia and the Americas, c.1492-c.1530 Eleanor Marie Russell This thesis analyses the multi-national European merchant-banking companies who dominated European commerce at the beginning of European engagement with the Americas and with Asia via the Cape Route, focusing upon how they responded to these changes. In the first decades of the sixteenth century, it was these companies, mostly from southern Germany and the Italian city-states, who dominated the European trade in Asian and American goods, whose capital funded Spanish and Portuguese royal policies overseas, and whose agents played crucial roles in establishing the Spanish and Portuguese empires and colonial trade. -
Tesis Los Orígenes De La Canción Popular En El Cine Mudo
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I TESIS DOCTORAL Los orígenes de la canción popular en el cine mudo español, (1896-1932) MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Benito Martínez Vicente Director Emilio Carlos García Fernández Madrid, 2012 © Benito Martínez Vicente, 2012 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 2 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 3 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 4 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) ¡RESPETABLE PÚBLICO! Señores: no alborotéis Aunque á oscuras os quedéis, Que á oscuras no se está mal Y si esperáis hasta el final, ¡ya veréis!... 1 1 Berriatúa, Luciano. “ Los primeros años del cine en las zarzuelas ”. Lahoz Rodrigo, Juan Ignacio (coord.). A propósito de Cuesta. Escritos sobre los comienzos del cine español 1896-1920. Ediciones de la Filmoteca. Institut Valencià de l’Audiovisual i la Cinematografia Ricardo Muñoz Suay. -
Epigraphical Research and Historical Scholarship, 1530-1603
Epigraphical Research and Historical Scholarship, 1530-1603 William Stenhouse University College London A thesis submitted in fulfilment of the requirements of the Ph.D degree, December 2001 ProQuest Number: 10014364 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10014364 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis explores the transmission of information about classical inscriptions and their use in historical scholarship between 1530 and 1603. It aims to demonstrate that antiquarians' approach to one form of material non-narrative evidence for the ancient world reveals a developed sense of history, and that this approach can be seen as part of a more general interest in expanding the subject matter of history and the range of sources with which it was examined. It examines the milieu of the men who studied inscriptions, arguing that the training and intellectual networks of these men, as well as the need to secure patronage and the constraints of printing, were determining factors in the scholarship they undertook. It then considers the first collections of inscriptions that aimed at a comprehensive survey, and the systems of classification within these collections, to show that these allowed scholars to produce lists and series of features in the ancient world; the conventions used to record inscriptions and what scholars meant by an accurate transcription; and how these conclusions can influence our attitude to men who reconstructed or forged classical material in this period. -
A Musical Correspondence from the Time of Philip II
Ignace Bossuyt 0 socii durate A musical correspondence from the time of Philip II ANTOINE Perrenot de Granvelle (1517-86) was painted by, among others, Titian, Antonio Moro one of the most fascinating personalities to have and Leone Leoni. patronized the arts in the second half of the 16th cen- Music, too, meant much to him, as is apparent tury. He played a crucial role both as a prince of the from his contacts with the most prominent com- church and as a politician in the Netherlands under posers of his time. His extensive correspondence the Spanish domination. After studying at the uni- contains a wealth of hitherto unknown musical versities of Leuven (Louvain) and Padua, he became data. A systematic examination of his letters, some Bishop of Arras in 1538, aged 21 years. In 1550 he suc- of which are preserved in the Palacio Real and the ceeded his father, Nicolas Perrenot, as prime minis- Biblioteca Nacional in Madrid,' has yielded particu- ter to Charles V, King of Spain and Holy Roman larly interesting information on his relationship Emperor, and retained this post after Charles's son with two composers of international stature: Adrian Philip II became ruler of the Netherlands in 1555. Willaert (c.1490-1562), who was maestro di cappella Following Philip's return to Spain in 1559 Antoine of St Mark's in Venice between 1527 and 1562, and became first counsellor to Margaret of Parma. Op- Orlande de Lassus (1530/32-1594), a tenor at the position to him increased steadily from 1561, espe- Bavarian court in Munich from September 1556 and cially after his elevation to cardinal and archbishop Kapellmeister there from 1563 until his death in of Malines (Mechelen). -
The 1963 Berlin Philharmonie – a Breakthrough Architectural Vision
PRZEGLĄD ZACHODNI I, 2017 BEATA KORNATOWSKA Poznań THE 1963 BERLIN PHILHARMONIE – A BREAKTHROUGH ARCHITECTURAL VISION „I’m convinced that we need (…) an approach that would lead to an interpretation of the far-reaching changes that are happening right in front of us by the means of expression available to modern architecture.1 Walter Gropius The Berlin Philharmonie building opened in October of 1963 and designed by Hans Scharoun has become one of the symbols of both the city and European musical life. Its character and story are inextricably linked with the history of post-war Berlin. Construction was begun thanks to the determination and un- stinting efforts of a citizens initiative – the Friends of the Berliner Philharmo- nie (Gesellschaft der Freunde der Berliner Philharmonie). The competition for a new home for the Berlin Philharmonic Orchestra (Berliner Philharmonisches Orchester) was won by Hans Scharoun whose design was brave and innovative, tailored to a young republic and democratic society. The path to turn the design into reality, however, was anything but easy. Several years were taken up with political maneuvering, debate on issues such as the optimal location, financing and the suitability of the design which brought into question the traditions of concert halls including the old Philharmonie which was destroyed during bomb- ing raids in January 1944. A little over a year after the beginning of construction the Berlin Wall appeared next to it. Thus, instead of being in the heart of the city, as had been planned, with easy access for residents of the Eastern sector, the Philharmonie found itself on the outskirts of West Berlin in the close vicinity of a symbol of the division of the city and the world. -
Universiv Microtlms International 300 N
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
La Llegada De Los Primeros Sistemas Cinematográficos Sonoros a España (1895 - 1929)
Journal of Sound, Silence, Image and Technology 27 Número 1 | Desembre 2018 | 27-41 ISSN 2604-451X La llegada de los primeros sistemas cinematográficos sonoros a España (1895 - 1929) Lidia López Gómez Universidad Autónoma de Barcelona [email protected] Data de recepció: 10-01-2018 Data d’acceptació: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CRONÓFONO | FONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Número 1 | Desembre 2018 28 La llegada de los primeros sistemas cinematográficos sonoros a España (1895 - 1929) RESUMEN ABSTracT Durante la última década del siglo XIX, During the final decade of the 19th century, inventores y creadores como Thomas A. inventors such as Thomas A. Edison and the Edison o los hermanos Lumière trabajaban Lumière brothers worked assiduously to find arduamente con el fin de fijar y reproducir el a way to preserve and reproduce sound and sonido y las imágenes. Evidencia de ello son images. The numerous inventions conceived los numerosos inventos que se crearon in this period such as the Kinetophone, the durante esos años, y que actualmente se Vitascope and the Cinematograph are consideran los precursores del cine, como lo testament to this and are nowadays consid- fueron el Kinetófono, el Vitascopio o el ered the forerunners of cinema. Most of Cinematógrafo. La mayoría de estas these new technologies were presented at novedades tecnológicas eran presentadas public screenings which generated a high en exhibiciones que generaban una gran level of interest. They attracted people from expectativa, y atraían a público de todas las all social classes, who packed out the halls, clases sociales, que abarrotaba las salas, theatres and hotels where they were held. -
The Bnf at the IFLA Exhibition
English – 4 August – No. 4 □ Workshops □ The BnF at the IFLA exhibition During this conference several IFLA The BnF will be pleased to welcome you to its stand 99 (Level 2 H 32 33) to pre- Sections offer workshops. Most are held on Thursday although some of them are sent the following special events: also held at other days. Please look at the programme for details. Virtual exhibitions, learning approach Workshops are either "on-site" in the Monday 4 August from 12.45 - 13.30 and International Congress Centre (ICC Wednesday 6 August from 10.45 - 11.30 Berlin) or "off-site" (not in the ICC Berlin). Presentation on large screen, focusing on 3 themes: “Fouquet, peintre et enlumineur du XV siècle (Fouquet, 15th century artist and illuminator), “Victor Hugo, l`homme All off-site workshops required pre- ocean”, “Il était une fois… les contes de feé (Once upon a time… fairy tales) registration. To allow everybody and especially a zounger audience to access its heritage, the Now that the conference has started it educational service of the BnF provides virtual exhibitions files, both online and on may still be possible to register for an CD-Rom, 23 files are currently available an varied themes such as: ”L`aventure des off-site event, although this is not done écritures”, “Emile Zola”, le Criel et la terre (The sky and earth) and (Cathedrales centrally. gothiques au XIIéme siècle§ (13th century Gothic cathedrals) Please contact the IFLA Headquarters Secretariat (room 36), since they will The catalogue of the BnF, BN-Opale plus have most of the location details for the off-site workshops. -
The German Library System: Structure and New Developments
The German Library System: structure and new developments Claudia Lux Introduction The Federal Republic of Germany is situated in the centre of Eu- rope. The Republic has sixteen Federal States. Germany’s capital is Berlin. Altogether, there are more than 16,200 communities, including villages, counties, towns and cities, with more than 12,000 public libraries and about 2,000 general research and special libraries. Germany has existed in its present form only since the unification of West Germany and East Germany in 1990. The two very differ- ent states had two very different political systems, one being em- bedded in the Western bloc with the United States and the other within the Eastern bloc with the Soviet Union. This had a great impact on the library system in each part of the country, evident in different classification systems, different types of libraries and library methods. During the last 12 years this has changed signifi- cantly, and the differences between East and West have been di- Claudia Lux obtained a PhD in minishing, even though they may not yet have disappeared Sinology from the University of altogether. Bochum in 1986. She is Direc- tor General of the Zentral- und Landesbibliothek Berlin. She has Basic Principles been Editor of Bibliotheksdienst since 2001 and a member of Only three years after the reunification the publication Biblio- the Editorial Board of Bibliothek, theken ‘93 was edited by a group of the BDB (Bundesvereinigung Forschung und Praxis since Deutscher Bibliotheksverbände, the National Federation of Li- 1998. Dr Lux was a member of brary and Librarians’ Associations), founded in West Germany in the Standing Committee of the 1989 by four different associations as their head-association. -
A Spectacular Armor and Its Depictions in Early Modern Augsburg1
Memories in Steel and Paper: A Spectacular Armor and Its Depictions in Early Modern Augsburg1 Chassica Kirchhoff This article examines a lineage of retrospective images that portray Maximi lian I as armored Archduke of Austria and Duke of Burgundy, riding a horse that is clad in impressive plate armor from its head to its hooves. These art works, which span the sixteenth century, participate in the early modern cultures of remembrance that surround Maximilian’s knightly persona and posthumous mythos. The central image of the study is a drawing, created during the 1540s, that is bound into the socalled ThunHohenstein Album. This drawing synthesizes two earlier paintings, now in the Kunsthistorisches Museum in Vienna, that represent triumphal entries into the cities of Namur and Luxembourg in 1480. A later image, created in Augsburg around 1575, exactly parallels the drawing in the Thun album, which it may copy. Care ful consideration of these images, their meanings and their different con texts of creation and reception, as well as the equine armor that they depict, Empfohlene Zitierweise: demonstrates the persistent significance of armor in the early modern cul Kirchhoff, Chassica: Memories in tures of remembrance of the Holy Roman Empire. Steel and Paper: A Spectacular *** Armor and Its Depictions in Early Modern Augsburg, in Dieser Artikel untersucht eine Reihe von retrospektivischen Bildern, welche MEMO 4 (2019): Objekte der Maximilian I. als geharnischten Erzherzog von Österreich und Herzog von Erinnerung, S. 26–57. Burgund auf einem eindrucksvoll ausgerüsteten, von Kopf bis zu den Hufen Pdf-Format, doi: gepanzerten Pferd reitend zeigen.