Unesco Aeolian Islands Management Plan Abstract
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Cilento and Vallo Di Diano National Park with the Archaeological Sites of Paestum and Velia, and the Certosa Di Padula
DÉSIGNATION POUR LE PATRIMOINE MONDIAL - ÉVALUATION TECHNIQUE UICN PARC NATIONAL DU CILENTO (ITALIE) (SITE MIXTE, NATUREL ET CULTUREL ) 1. DOCUMENTATION (i) Fiche technique UICN/WCMC (3 références) (ii) Littérature consultée: Gouvernement italien.1997. Liste du Patrimoine Mondial: Candidature du Parc National du Cilento avec les sites archéologiques de Paestum et Velia. Ministero dell’Ambiente. 1998. Parco Nazionale del Cilento e Vallo di Diano – Relazione Programmatica e di Indirizzo, 1998-2001. UNESCO-MAB. 1997. Nuove Riserve di Biosfera in Italia. (iii) Consultations: 12 évaluateurs indépendants. (iv) Visite du site: avril 1998. J. Marsh. 2. RÉSUMÉ DES CARACTÉRISTIQUES NATURELLES Le Parc national du Cilento, d’une superficie de 181 041 hectares, est situé au centre-sud de l’Italie, dans la région de Campanie, province de Salerne. Vingt zones centrales couvrent ensemble 26 000 hectares (c’est-à-dire 14%) et le reste de la superficie se partage entre la zone tampon (50 000 hectares) et la zone de transition (105 000 hectares). Cilento se trouve dans la province biogéographique de végétation sclérophylle méditerranéenne. La région est caractérisée par des montagnes, des vallées et une zone littorale. Elle est limitée au nord et à l’est par le Vallo di Diano et, à l’ouest et au sud par le littoral de la mer Tyrrhénienne. Le relief est le résultat de la collision de plaques tectoniques, de la formation de montagnes et de l’érosion fluviale et marine. À l’est et au nord se trouvent les montagnes les plus hautes, composées de calcaires et de dolomites stratifiées. On y trouve le mont Alberni (1742 m), le mont Cocuzzo (1411 m), le mont Motola (1700 m) et le mont Cervati (1898 m). -
Discovering Sicily's Aeolian Islands
Untold Italy Episode 69 - Discovering Sicily’s Aeolian Islands Katy This is the Untold Italy Travel podcast, and you're listening to episode number 64. Josie Ciao and Benvenuti to Untold Italy, I'm Josie. Katy And I'm Katy, and we're here to help you plan your trip to Italy. Josie Between us, we have many years of travel experience and we want to help you uncover your own as yet untold stories and adventures in Italy. Katy Each episode, you'll hear practical advice, tips and ideas to help you plan your own trips to the magical land of history, stunning landscapes and a whole lot of pasta. Josie We'll have interviews from experts and focus on local destinations and frequently asked questions about travel in Italy. Katy Thanks for listening and make sure to subscribe to our show. Josie Now let's get started on your regular dose of Bella Italia. Katy Benvenuti. Ciao everyone, it's Katy and welcome once again to the podcast that takes you on a weekly escape to Bella Italia and keeps you dreaming of trips to come while we patiently wait for travel to resume. We received a lovely message on Instagram recently that I wanted to share with you all - from a listener in Denver, Colorado. "Hi, ladies. I just found your podcast and it's wonderful. I just listened to Episode 67 with Pierpaulo and laughed so much and learned so much. Thank you for all the useful info and research and sharing your experiences. It's so good to have that available for beginner mom travelers just like me. -
Amalfi Coast & Cilento Regions of Campania Campania, Italy
Campania, Italy |Culinary & Cultural Adventure! Amalfi Coast & Cilento Regions of Campania Depart: USA on May 26, 2020 | Return to USA on June 4, 2020 9 Fun Days & 8 Nights of a CULINARY and CULTURAL ADVENTURE $2,995.00 per person . 5-Star Hotel . Mount Vesuvius Winery . Cooking with a Baroness . Beautiful Sightseeing Tours . “Hands-On” Mozzarella Experience . Temples of Paestum (Magna Graecia) . Enjoy the same hotel for entire tour . Beach & Fun in the Sun Time! Explore Campania! Enjoy a culinary and cultural adventure of a lifetime as you visit two of the most spectacular regions of Campania. Savor the glamor & glitz of the Amalfi Coast along with the Cilento region (known as one of Italy’s best kept secrets, and home of the Mediterranean diet). Relish in the “sweet life” of southern Italy and its gracious people on this one-of-a-kind tour. 1 ITALY: CAMPANIA & CILENTO REGION TOUR ITINERARY DAY TO DAY ITINERARY May 27 – June 4, 2020 IMPORTANT: Departure should be scheduled for May 26rd in order to arrive on May 27th. Day 1: Arrival | Naples International Airport DINNER Meet and greet at Naples International Airport. Bus transfer is provided for the group from the airport to Hotel Sole Splendid. Relax, settle in, and enjoy the amenities of the hotel and the beautiful beach. In the evening, meet the group for a welcome dinner. Day 2: Splendors of Positano & Amalfi Experience BREAKFAST LUNCH Breakfast at the hotel. Bus departure for the port of Salerno to the alluring towns of Positano and Amalfi. Then you’ll experience a ferry ride to the chic village of Positano, famous for its glamorous shopping, restaurants, beautiful cliff-side panoramic views, and the magnificent Church of Santa Maria. -
Italians Plant Roots in Houston
Damon Palermo’s grandfather used a mule cart to bring produce to market prior to the widespread use of trucks. Photo courtesy of Damon Palermo. Italians Plant Roots in Houston By Sabine Meyer Hill ot long ago—before Houston paved over the Post Oak Martino, a Sicilian immigrant truck farmer, says his ances- Narea, before skyscrapers riddled the downtown and tors had trouble getting the most basic goods like wheat for medical center landscapes, before subdivisions became the pasta and bread. So they came to the United States in hopes norm on the outskirts of town—the banks of Buffalo and of a more prosperous future. Most Sicilian immigrants de- White Oak Bayous in downtown were home to a thriving parted from Genoa on the Italian mainland and entered the marketplace. Large plots of land within the city limits held United States through the port of New Orleans with their expansive urban farms and gardens that provided Housto- sights set on farmland in Houston’s vicinity: the Brazos nians with fresh fruit and vegetables and their cultivators Valley, Diboll, and Dickinson. Between 1870 and 1920, the with a chance at making a life in their new home. Italian population in Texas grew from 186 to 8,024. By 1980, Houston, Texas, is widely regarded as a city built by Italian descendants residing in Texas totaled 189,799.2 The immigrants and now ranks as the nation’s most diverse large region’s climate and soil were similar enough to Sicily’s to city.1 People commonly think of Houston’s immigrant popu- welcome the farming they were familiar with, so upon arriv- lation as coming from Latin America, Asia, and the Middle ing in their new home they relied on what they knew best: East. -
Ettore Scola, Humanist Des Italienischen Kinos ) 2 7 9 1 (
Ettore Scola, Humanist des italienischen Kinos ) 2 7 9 1 ( A T I V A I M A l l e D A T A r e S A l l e B ù I P A l u z n e t i e b r a h a e l r o D c n e S d i e e r b o a t l t o c E S e r o t t 47 e Ettore Scola (1931 –2016) ist einer der großen Meister Manfredi, Vittorio Gassmann, Stefania Sandrelli, Alberto des italienischen Films. Er gilt als legitimer Erbe von Sordi und Marcello Mastroianni. Sie verkörpern italieni - Roberto Rossellini, Vittorio de Sica und Federico Fellini sche Charaktertypen mit ihren typischen Merkmalen: und als wichtiger Impulsgeber für die nächste Genera - Der Kunst, sich in jeder Situation zu behelfen (arte di ar - tion. In Deutschland ist er jedoch bis heute weitgehend rangiarsi) sowie markanten Kontrasten zwischen unbekannt geblieben. Schein (Selbstsicherheit, Geltungsdrang, Hochmut) und Obwohl Ettore Scola ein juristisches Studium absolviert Sein (Schüchternheit, Engstirnigkeit, Opportunismus, hat, faszinierte ihn früh die Kinowelt. Bevor er eigene Feigheit). Ein menschliches Panoptikum aus gescheiter - Filme drehte, verfasste er mehr als fünfzig Drehbücher ten Angestellten, komplexbeladenen Strebern, Schnor - für Regisseure wie Luigi Zampa, Nanni Loy oder Mario rern, Schmarotzern, Träumern und Emanzen, die sich in Monicelli. Den Durchbruch als Regisseur mit einer sehr der neu entstehenden Welt der Freizeitangebote, der persönlichen Filmsprache und einer Vorliebe für sozial - freieren Sitten, des Wohlstands und des Konsums kritische Themen gelang ihm in den 1970er Jahren. bewegen – eine bunte comédie humaine, geprägt Über sein Konzept sagte Scola: »Mein Kino war nie ein durch das anekdotische, fragmentarische Erzählen und Kino der Phantasie, sondern immer eines der Beobach - das Zusammenspiel von dramatischen und grotesken tung«. -
Workshops of Apulian
- . WORKSHOPSOF APULIAN RED-FIGURE OUTSIDE TARANTO E. G. D. Robinson The publication of The Red-figured Vasesof Apulia brought, for the first time, structure to a massive body of information. The classification of thousands of vases, on the basis of style, has opened the way to other kinds of studies. One such study is offered here with gratitude to Alexander Cambitoglou from a colleague and former pupil. Since the beginning of the study of Apulian red-figured vases, there has been controversy over the localization of its workshops.l It is now accepted that Apulian red-figured vases were first made in Taranto; only late in the series are Apulian workshops outside Taranto postulated. It is widely recognized that one important late group, comprising the Baltimore Painter, Arpi Painter, White SaccosPainter and others, worked in Canosa or somewhere close by.2 Other painters, outside this broad stylistic grouping, may be strongly associatedwith one site, like the Laterza Painter with Salapia and the Lampas Painter with Canosa.3Caution should be exercised if, as in these two cases, a large proportion of the vases with proveniences come from one tomb.4 The acquisition of large groups of vases by one painter, who need not have been working locally, for placementin a tomb is commonin the later 4th cent. BC. The presencein : Rutigliano (1976) Tomb 24 of seven vases by the Painter of the Berlin Dancing Girl i shows that the phenomenon exists right from the beginning of the Apulian series.s The present study aims to use the stylistic groups and proveniences published in RVAp for a simple statistical survey.6 It will firstly look at the proveniences of vases in Late Apulian red-figure, to examine the possible localization of workshops in northern Apulia. -
Guided Small Group Cycling Tour
Guided small group cycling tour Amalfi Coast & Cilento Cycling the Coast of the Sirens Enjoy the best of southern Italy: from the unknown Cilento to the dramatic Amalfi Coast TRIP NOTES 2020 © Genius Loci Travel. All rights reserved. [email protected] | www.genius-loci.it ***GENIUS LOCI TRAVEL - The Real Spirit Of Italy*** Guided small group cycling tour INTRODUZIONE The regions of Amalfi and the Cilento have been known as a paradise on earth since ancient times. The Greeks built some of their most impressive temples here and under the Romans they formed part of ‘Campania Felix’, or the Happy Land. When travelling here, one easily becomes overwhelmed by the well-known cultural and natural attractions of the famous ‘Costiera Amalfitana’ with its towering cliffs and picturesque coves. However, the Cilento region south of Salerno, now one of Italy’s biggest National Parks, where the coastline bulges out into an expanse of mountainous landmass, is also well worth a visit. This tour gives you the opportunity to discover both the busy, touristy Amalfi and the quiet, peaceful Cilento. Here in the Cilento National Park you pass through world-famous cultural sites that are UNESCO World Heritage listed, such as Velia and Paestum, and visit some of the nicest medieval villages in the area, both along the coast and slightly inland, where the traditional way of life is still evident. All these attractions are connected by great well-paved and quiet roads, ideal for cycling. Of course there will also be plenty of time to enjoy the splendid beaches and wonderful food on offer. -
The GIS Application to the Spatial Data Organization of the Necropolis of Poseidonia-Paestum (Salerno, Italy)
The GIS Application to the Spatial Data Organization of the Necropolis of Poseidonia-Paestum (Salerno, Italy) A. SANTORIELLO', F. U. SCELZA', R. GALLOTTP, R. BOVE\ L. SIRANGELO', A. PONTRANDOLFO' ' University of Salemo, Department of Cultural Heritage, Laboratory of Archaeology "M. Napoli", Italy ' CRdC "Innova", Department of Cultural Heritage, University of Salemo, Italy ' Independent Software Developer ABSTRACT This paper concerns about the spatial organization and the thematic management of the Poseidonia and Paestum's urban funeral areas. The wide archaeological heritage, investigated since the beginning of XIX century, had been studied using different research methodologies. These studies led to several inhomogeneous documents. First of all, we have to notice the absence of a general topographical map concerning the exact localization of each grave. In front of this scenario, the aim for the researcher consisted in the documentary source's collection and the integration in order to construct an unique cartographical base to use as a corner stone for the Paestum 's plain. This base has been realized through the acquisition of multi-temporal and multi- scalar supports. These different data have been organized within a Geographical Information System, according to the same cartographical projection system. The burial ground's geo-localisation has been realized through survey control operations, carried out by a satellite positioning system (GPS- Glonass) with subcentrimetrical resolution. The second phase of the research aimed to the database construction in order to collect analytical records, relevant to each tomb, and to link the archaeological data to the geographical entities previously created. The target was to create an informative layer, selective and comprehensive at the same time, able to process specific thematic questions, analysis of singular funerary context and comparative examination of the entire necropolis. -
Combining Wine Production and Tourism. the Aeolian Islands
Available online at www.sciencedirect.com ScienceDirect Procedia - Social and Behavioral Sciences 223 ( 2016 ) 662 – 667 QG,QWHUQDWLRQDO6\PSRVLXP1(:0(75232/,7$13(563(&7,9(66WUDWHJLFSODQQLQJ VSDWLDOSODQQLQJHFRQRPLFSURJUDPVDQGGHFLVLRQVXSSRUWWRROVWKURXJKWKHLPSOHPHQWDWLRQRI +RUL]RQ(XURSH,67+5HJJLR&DODEULD ,WDO\ 0D\ &RPELQLQJ:LQHSURGXFWLRQDQG7RXULVP7KH$HROLDQ,VODQGV $JDWD1LFRORVLD/RUHQ]R&RUWHVHD)UDQFHVFR6DYHULR1HVFLD'RQDWHOOD3ULYLWHUDE aMediterranea University of Reggio Calabria, Department of Agricultural Science, Feo De Vito, Reggio Calabria 89124, Italy bUniversity of Catania, Department of Educational Sciences, Via Biblioteca 4, Catania 95124, Italy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©7KH$XWKRUV3XEOLVKHGE\(OVHYLHU/WG 2016 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC-ND license (3HHUUHYLHZXQGHUUHVSRQVLELOLW\RIWKHRUJDQL]LQJFRPPLWWHHRIhttp://creativecommons.org/licenses/by-nc-nd/4.0/). -
The Depiction of Acromegaly in Ancient Greek and Hellenistic Art
HORMONES 2016, 15(4):570-571 Letter to the Editor The depiction of acromegaly in ancient Greek and Hellenistic art Konstantinos Laios,1 Maria Zozolou,2 Konstantinos Markatos,3 Marianna Karamanou,1 George Androutsos1 1Biomedical Research Foundation, Academy of Athens, 2Medical School, National and Kapodistrian University of Athens, 3Henry Dunant Hospital, Orthopedics Department, Athens, Greece Dear Editor, Hellenistic age (323-31 BC), all with the characteris- tics of acromegaly, have been found in various parts In 1886, Pierre Marie (1853-1940) published the of the ancient Greek world of the times.2 All these first accurate scientific description of acromegaly while also coining the term that we now employ (ac- romegaly today being used when the disease appears in adulthood, and gigantism when it is seen in child- hood). While several other physicians had, previous to Marie, spoken about this disease, starting with the Dutch physician Johann Wier (ca. 1515-1588),1 numerous representations of the human figure with characteristics of acromegaly were fashioned by an- cient Greek and Hellenistic craftsmen. For example, five terracotta male figurines of the ancient Greek era (Alexandria, Graeco-Roman Museum: 10039 Figure 1 and 22631, Delos, Archaeological Museum: ǹ9DWLFDQR0XVHR*UHJRULDQR(WUXVFR Geneva, Collection De Candolle: 21) and three ter- racotta female figurines (Taranto, Museo Nazionale Archeologico, Figure 2 Athens, Benaki Museum: 8210, Tarsus, Tarsus Museum: 35-1369) dated to the Key words: Acromegaly, Ancient Greek art, Ancient Greek medicine, Hellenistic art, Terracotta figurines Address for correspondence: Konstantinos Laios PhD, 1 Athinodorou Str., Kato Petralona, 118 53 Athens, Attiki, Greece; Tel.: +30 6947091434, Fax: +30 2103474338, E-mail: [email protected] Figure 1. -
Is the Gulf of Taranto an Historic Bay?*
Ronzitti: Gulf of Taranto IS THE GULF OF TARANTO AN HISTORIC BAY?* Natalino Ronzitti** I. INTRODUCTION Italy's shores bordering the Ionian Sea, particularly the seg ment joining Cape Spartivento to Cape Santa Maria di Leuca, form a coastline which is deeply indented and cut into. The Gulf of Taranto is the major indentation along the Ionian coast. The line joining the two points of the entrance of the Gulf (Alice Point Cape Santa Maria di Leuca) is approximately sixty nautical miles in length. At its mid-point, the line joining Alice Point to Cape Santa Maria di Leuca is approximately sixty-three nautical miles from the innermost low-water line of the Gulf of Taranto coast. The Gulf of Taranto is a juridical bay because it meets the semi circular test set up by Article 7(2) of the 1958 Geneva Convention on the Territorial Sea and the Contiguous Zone. 1 Indeed, the waters embodied by the Gulf cover an area larger than that of the semi circle whose diameter is the line Alice Point-Cape Santa Maria di Leuca (the line joining the mouth of the Gulf). On April 26, 1977, Italy enacted a Decree causing straight baselines to be drawn along the coastline of the Italian Peninsula.2 A straight baseline, about sixty nautical miles long, was drawn along the entrance of the Gulf of Taranto between Cape Santa Maria di Leuca and Alice Point. The 1977 Decree justified the drawing of such a line by proclaiming the Gulf of Taranto an historic bay.3 The Decree, however, did not specify the grounds upon which the Gulf of Taranto was declared an historic bay.