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Armed Services Arts Partnership (ASAP) Is a DC
Armed Services Arts Partnership (ASAP) is a DC- and Hampton Roads-based nonprofit with a mission to reintegrate veterans, service members, and military families into their communities through the arts. ASAP promotes expression, skill-development, and camaraderie through classes, workshops, and performances across a variety of artistic disciplines. The organization's focus on consistent programs and partnerships ensures that members of its community have continuous opportunities for artistic and personal growth. ASAP's approach provides participants with transferable life skills, a renewed sense of purpose, and improved well-being. At the same time, ASAP strengthens ties between veterans and their communities through the arts. Claudia Avila has a degree in international business and has achieved the Army Family Team Building Training. She is a military spouse, mother to three amazing boys—Jose, Miguel, and Luis Jr. —who are the most resilient hidden heroes in her eyes. She is a strong advocate for wounded, ill, injured, and well military service members and their families, and has often been referred to as a true 'battle buddy' to her husband and other service members in recovery. She is a member of the Task Force Caregiver Initiative for the Army. She and her husband, CPT Luis Avila, are pillars of their community and are fixtures at Walter Reed National Military Medical Center where Claudia spends her days working alongside CPT Avila in his recovery, as his spouse, advocate, and primary caregiver. For Avila, being a caregiver isn't a job or a task, it is her duty, responsibility, and service, and she serves proudly and humbly. -
Representations of Italian Americans in the Early Gilded Age
Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 7 1994 From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Russo, John Paul (1994) "From Italophilia to Italophobia: Representations of Italian Americans in the Early Gilded Age," Differentia: Review of Italian Thought: Vol. 6 , Article 7. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/7 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. From ltalophilia to ltalophobia: Representations of Italian Americans in the Early Gilded Age John Paul Russo "Never before or since has American writing been so absorbed with the Italian as it is during the Gilded Age," writes Richard Brodhead. 1 The larger part of this American fascination expressed the desire for high culture and gentility, or what Brodhead calls the "aesthetic-touristic" attitude towards Italy; it resulted in a flood of travelogues, guidebooks, antiquarian stud ies, historical novels and poems, peaking at the turn of the centu ry and declining sharply after World War I. America's golden age of travel writing lasted from 1880 to 1914, and for many Americans the richest treasure of all was Italy. This essay, however, focuses upon Brodhead's other catego ry, the Italian immigrant as "alien-intruder": travel writing's gold en age corresponded exactly with the period of greatest Italian immigration to the United States. -
COG Board,Committees and Staff 2009 Metropolitan W Ashington
2008 Annual Report 2009COG Board, Metropolitan Committees Washington and Staff Regional Directory METROPOLITANWASHINGTONCOUNCILOFGOVERNMENTSMETROPOLITANWASHINGTONCOUNCILOFGOVERNMENTS Metropolitan Washington Council of Governments 2008 Annual Report Meeting the Region’s Short-Term Needs and Long-Term Goals Metropolitan Washington Member Jurisdictions COG 2009 Metropolitan Washington Regional Directory Council of Governments District of Columbia ..........................16-21 COG Board of Directors ...........................3-5 Maryland...........................................22-45 Board, Committees and Staff Transportation Planning Board (TPB).........6-8 Bladensburg.............................................22 Metropolitan Washington Air Quality Bowie ......................................................23 Committee (MWAQC).............................9-11 College Park .......................................24-25 COG Policy Committees ............................12 Frederick .................................................26 COG Public/Private Partnerships ................13 Frederick County .................................27-29 COG Administrative Staff ...........................14 Gaithersburg.......................................30-31 Greenbelt............................................32-33 Montgomery County ............................34-37 Prince George’s County .......................38-41 Rockville .............................................42-43 Takoma Park.......................................44-45 Virginia..............................................46-69 -
Inventive Translation, Portraiture, and Spanish Hapsburg Taste in the Sixteenth Century
9 © Copyrighted Material Inventive Translation, Portraiture and Spanish Habsburg Taste in the Sixteenth Century Elena Calvillo The Spanish Patron In his autobiography, Benvenuto Cellini recounts how when faced with an angry mob of Spaniards from the household of the bishop of Salamanca, he defiantly pointed his gun into the crowd and cried, ‘You treacherous Moors – so this is how you loot the shops and houses in a city like Rome?’1 According to the artist, the Spaniards had come to collect a vase that had been returned to Cellini to be repaired, but because the patron had not yet paid for it, Cellini declined to release it. The commotion surrounding this exchange soon attracted the attention of a few Roman gentlemen, eager to join the fight. Their offer to help Cellini kill his opponents was made ‘with such vehemence that the Spaniards were terrified out of their wits’ and retreated.2 The Spanish courtiers were subsequently admonished by the bishop, who, Cellini claimed, was angered by both the violence initiated by the brash members of his household and by their failure to finish the job. Cellini’s characterization of the Spanish throughout this part of his text, leading up to the Sack of 1527, is similar to many portrayals of this period.3 For Cellini, such a depiction of the troublesome Spaniards served the rhetorical ends of the autobiography by highlighting his loyalty to Rome and his personal bravery, most spectacularly demonstrated in his account of the defence of the Castel Sant’Angelo against imperial troops. A few themes emerge from Cellini’s anecdote. -
Journal of Comparative Literature and Aesthetics
ISSN: 0252-8169 JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS Vol. XVI Nos. 1-2: 1993 A Special Volume on Italian Aesthetics Since Croce A Vishvanatha Kaviraja Institute Publication Editor: A.C. SUKLA B-8, Sambalpur University, Jyoti Vihar, Orissa India-768019. Fax-0663+430314, Associate Editor: Frank J. Hoffman West Chester University, Pennsylvania Editorial Advisor (Foreign) : Milton H. Snoeyenbos Georgia State University, Atlanta: Georgia. EDITORIAL BOARD Rene Wellek Yale University Peter Lamarque University of Hull Philip Alperson University of Louisville W.I.T. Mitchel University of Chicago Ralph Chohen University of Virginia Denis Dutton University of Canterbury Grazia Marchiano University of Siena Dorothy Figueira University of Illinois Ellen Dissanavake Washington Goran Hermeren University of Lund Ales Erjavec Slovenian Academy of Science & Arts V.K. Chari University Carleton S.K. Saxena University of Delhi Suresh Raval University of Arizona J.N. Mohanty Temple University Salim Kemal University of Dundee All subscriptions / books for review / papers / reviews / notes for publication are to be sent to the Editor Current information about JCLA is available on the Internet web site: http:// www.sas.upenn.edu/~fhoffman/jcla.html JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS Volume: XVI: Nos. 1-2: 1993 A VISHVANATHA KAVIRAJA INSTITUTE PUBLICATION The Prsent Volume is Edited By: GRAZIA MARCHIANO CONTENTS 1 About the Authors Grazia Marchiiano 3 Editorial Gianni Vattimo 9 On the Challenge of Art to Philosophy; Aesthetics at the End of Epistemology Stefano Zecchi 17 The Theory of Art in Italian Idealism Aldo Trione 29 The De Sanctis: Croce line and the Problem of Modernity Stefano Benassi 41 Orientations of Phenomenological Aesthetics in Italy: The Encounter with Marxism and Semiotics Luisa Bonesio 51 Italian Philosophical Aesthetics: A New Generation Grazia Marchiano 59 Ananda Kentish Coomaraswamy: A Short Critical Survey About the Authors . -
Portrait of Italian Jewish Life (1800S – 1930S) Edited by Tullia Catalan, Cristiana Facchini Issue N
Portrait of Italian Jewish Life (1800s – 1930s) edited by Tullia Catalan, Cristiana Facchini Issue n. 8, November 2015 QUEST N. 8 - FOCUS QUEST. Issues in Contemporary Jewish History Journal of Fondazione CDEC Editors Michele Sarfatti (Fondazione CDEC, managing editor), Elissa Bemporad (Queens College of the City University of New York), Tullia Catalan (Università di Trieste), Cristiana Facchini (Università Alma Mater, Bologna; Max Weber Kolleg, Erfurt), Marcella Simoni (Università Ca’ Foscari, Venezia), Guri Schwarz (Università di Pisa), Ulrich Wyrwa (Zentrum für Antisemitismusforschung, Berlin). Editorial Assistant Laura Brazzo (Fondazione CDEC) Book Review Editor Dario Miccoli (Università Cà Foscari, Venezia) Editorial Advisory Board Ruth Ben Ghiat (New York University), Paolo Luca Bernardini (Università dell’Insubria), Dominique Bourel (Université de la Sorbonne, Paris), Michael Brenner (Ludwig-Maximilians Universität München), Enzo Campelli (Università La Sapienza di Roma), Francesco Cassata (Università di Genova), David Cesarani z.l. (Royal Holloway College, London), Roberto Della Rocca (DEC, Roma), Lois Dubin (Smith College, Northampton), Jacques Ehrenfreund (Université de Lausanne), Katherine E. Fleming (New York University), Anna Foa (Università La Sapienza di Roma), François Guesnet (University College London), Alessandro Guetta (INALCO, Paris), Stefano Jesurum (Corriere della Sera, Milano), András Kovács (Central European University, Budapest), Fabio Levi (Università degli Studi di Torino), Simon Levis Sullam (Università Ca’ -
An Interpretation on the Ideas of Cesare Brandi in the Theory of Restoration YOLANDA MADRID ALANÍS
An interpretation on the ideas of Cesare Brandi in the Theory of restoration YOLANDA MADRID ALANÍS Translation by Valerie Magar Abstract Some of the fundamental concepts of the Brandi’s theory are analyzed with the aim of producing an interpretation which will detail its content and philosophical guides. The concept of Restoration, of work of art, of cases, of material and image, and of oneness are discussed, using different sources from philosophy, aesthetics, pragmatism, hermeneutics and phenomenology. Keywords: Cesare Brandi, theory of Restoration, philosophical guides, interpretation. Introduction This document is part of a reflection on the uses of the theory of Restoration employeed by the National School of Conservation in Mexico (Escuela Nacional de Conservación, Restauración y Museografía “Manuel del Castillo Negrete”, ENCRyM), which I am formulating as a final project in a Master in Critical Theory.1 Given that Cesare Brandi’s Theory of restoration has been a constant reference in Mexico, I decided to reread and interpret it, with the aim of detailing some of its sources and going deeper into the understanding of his ideas. The analysis is viable because there are explicit references by the author in several sections of the text itself, because his impact at an international level has been extensively studied, and because we are familiar with some of the philosophical sources that he employed to develop his theoretical concepts. Although part of his written production has already been translated into several languages, his philosophical references have seldom been made explicit. I consider it pertinent to make this interpretative reflection, because it is a text that is still valid in the Mexican context, although addenda have been made with other perspectives in mind, and because this can give rise to international multidisciplinary studies aimed at developing an in-depth panorama of Brandi’s thought. -
2017 Grantmakers in the Arts Conference Program
LEGACY AND LEADERSHIP 2017 GRANTMAKERS IN THE ARTS CONFERENCE DETROIT, MI OCTOBER 28–31 2017 GRANTMAKERS IN THE ARTS CONFERENCE Conference Sponsors Anchor Sponsor The Kresge Foundation Leadership Sponsors Ford Foundation John S. and James L. Knight Foundation Major Sponsors Bloomberg Philanthropies Surdna Foundation Presenting Sponsors William Davidson Foundation The Joyce Foundation Sustaining Sponsors Americans for the Arts Fred A. and Barbara M. Erb Family Foundation Irving S. Gilmore Foundation Walter & Elise Haas Fund Michigan Council for Arts and Cultural Affairs SURDNA FOUNDATION Supporting Sponsors 3Arts, Inc. The Geraldine R. Dodge Foundation Whistler’s Brother Fund of Berkshire Taconic Community Foundation The annual conference is GIA’s largest and most complex program. We are grateful for the conference sponsors who help us offer quality programming at a reasonable registration rate by supporting us with this effort. All of our programs throughout the year are supported by a loyal and growing number of funders who believe we are better philanthropists through sharing and exploring together. We are grateful to all of our funding partners, listed on page 36. COVER IMAGE: Gilda Snowden, Imaginary Landscape, 2006, acrylic on canvas. Photo courtesy of the Oakland University Art Gallery. Gilda Snowden (1954 – 2014) was an influential African American artist, educator, and mentor in Detroit, Michigan. She worked primarily as an abstract expressionist painter, heavily inspired by artists of Detroit’s Cass Corridor neighborhood which is known for its creative community. Learn more about Gilda Snowden at conference.giarts.org/gilda-snowden.html. 2 LEGACY AND LEADERSHIP DETROIT MI, OCTOBER 28–31 LEGACY AND LEADERSHIP Welcome to Detroit! I’m confident that I speak on behalf of the entire culturally rich neighborhoods across Detroit. -
Vico, Hegel and a New Historicism
Hegelians on the Slopes of Vesuvius: A Transnational Study in the Intellectual History of Naples, 1799-1861 Alessandro De Arcangelis, University College London Thesis submitted for the Degree of Doctor of Philosophy, University College London, April 2018 I, Alessandro De Arcangelis, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Acknowledgments I would like to express my gratitude to all the people who supported me in this challenging and exciting journey and contributed, in many ways, to its development and completion. Working with my main supervisor, Prof. Axel Körner, has been a terrific experience and I am deeply grateful for his undefeated enthusiasm, impeccable support, steady encouragement and, above all, for offering me so many opportunities to grow as a researcher. My second supervisor, Prof. Avi Lifschitz, has always been a dedicated mentor, whose point of view has been helping me improve my way of engaging with intellectual history since the very first day of my MA degree in 2013. I genuinely hope that the future may hold many more opportunities for me to work with them. A special mention goes to Dr. Fernanda Gallo: our common passion for Neapolitan Hegelianism has introduced us to a priceless friendship and enabled us to work together on several projects during the last year. Dr. Maurizio Isabella provided me with useful comments that greatly helped my argument to come into focus, as did Prof. Gareth Stedman Jones in 2015 and 2017. I also want to thank Dr. -
Origins of Fascism
><' -3::> " ORIGINS OF FASCISM by Sr. M. EVangeline Kodric, C.. S .. A. A Thesis submitted to the Faculty of the Graduate School, Marquette Unive,r s1ty in Partial FulfillmeIlt of the Re qUirements for the Degree of Master of Arts M1lwaukee, Wisconsin January, -1953 ',j;.",:, ':~';'~ INTRODUCTI ON When Mussolini founded the Fascist Party in 1919, he " was a political parvenu who had to create his ovm ideological pedigree. For this purpose he drew upon numerous sources of the past and cleverly adapted them to the conditions actually existing in Italy during the postwar era. The aim of this paper 1s to trace the major roots of the ideology and to in terpret some of the forces that brought about the Fascistic solution to the economic and political problems as t hey ap peared on the Italian scene. These problems, however, were not peculiar to Italy alone. Rather they were problems that cut across national lines, and yet they had to be solved within national bounda ries. Consequently, the idea that Fascism is merely an ex tension of the past is not an adequate explanation for the coming of Fascism; nor is the idea that Fascism is a mo mentary episode in history a sufficient interpr etat ion of the phenomenon .. ,As Fascism came into its own , it evolved a political philosophy, a technique of government, which in tUrn became an active force in its own right. And after securing con trol of the power of the Italian nation, Fascism, driven by its inner logic, became a prime mover in insti gating a crwin of events that precipitated the second World War. -
Christianity and Idealism
Christianity And Idealism Westminster Theological Seminary Philadelphia, Pennsylvania 1955 Copyright 1955 By The Presbyterian And Reformed Publishing Company Philadelphia, Pa. Library of Congress Catalog Card Number 55-9041 Preface From time to time I have written on the relation of idealist philosophy to Christianity. It is obvious that such philosophies as materialism and pragmatism are foes of Christianity. It is less obvious but no less true that Idealism and Christianity are mutually exclusive. Christianity teaches man to worship and serve God the Creator. Idealism, no less than materialism or pragmatism, teaches man to serve and worship the creature. Idealism has a language which resembles that of Christianity but its thought content leads inevitably toward pragmatism. That is the idea expressed in the articles that are herewith reproduced. The relation between Idealism and Christianity has recently become a controversial issue among Reformed Christians. This accounts for the republishing of these articles. Cornelius Van Til September, 1955 Philadelphia, Pa. Contents God And The Absolute Evangelical Quarterly, Vol. 2, 1930 Recent American Philosophy Philosophia Reformata, Vol. 2, 1937 The Theism Of A. E. Taylor Westminster Theological Journal, May, 1939 Philosophic Foundations Evangelical Quarterly, Vol. 13, 1941 Studies In The Philosophy Of Religion Westminster Theological Journal, November, 1939 A Sacramental Universe Westminster Theological Journal, May, 1940 The Nature And Destiny Of Man Westminster Theological Journal, November, 1941 The Logic Of Belief Westminster Theological Journal, November, 1942 The Doctrine Of God Christianity Today, December, 1930 Kant Or Christ? Calvin Forum, February, 1942 God And The Absolute In many quarters the idea seems to prevail that Idealism and Christianity have found an alliance against all forms of Pragmatism. -
No. BOWLING GREEN S
No. THE COMMEDIA DELL*ARTE TRADITION AND THREE LATER NOVELS OF HENRY JAMES Jack Helder A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY March 197^ Approved by $oc£opal Committee Advisor BOWLING GREEN S' -_ UHIVERSIïïUBRAit: cì 1974 JACK HELDER ALL RIGHTS RESERVED IX ABSTRACT What Maisie Knew, The Awkward Age, and The Golden Bowl form a sequential pattern that manifests Henry James’s subtle adaptation of theatrical conventions derived from the commedia dell'arte tradition. Recognition of this adapta tion adds a further dimension to conceptions of James as a dramatic novelist» one that not only comments on his method, but which also contributes to interpretation of his thematic intentions. This study commenced with a description of the essen tial nature, relevant conventions, and general intentions which characterized the commedia dell'arte tradition. The term "commedia dell’arte tradition" was used in deference to the dynamically evolutionary history, spontaneous personality, and assimilation into Western culture of the various forms of Italian Popular Comedy since the Renaissance. A theatrical species utilized by Scala, Goldoni, Gozzi, and Moliere can only inclusively and accurately be viewed in terms of a general tradition. Moreover, during James’s formative years, that tradition suffered a relative eclipse which precluded his direct experience with purer forms. Autobiographical, biographical, critical, and his torical resources document James’s appreciative familiarity with remnants of that tradition. His acquaintance was initiated through story books and the "earliest aesthetic seeds" sown at Niblo's Gardens.