Lettera Da San G Iorgio
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Refractory Migrants. Fascist Surveillance on Italians in Australia 1922-1943
Refractory Migrants. Fascist Surveillance on Italians in Australia 1922-1943 by Gianfranco Cresciani Gianfranco Cresciani emigrated University of New South Wales in from Trieste to Sydney in 1962. He 2005, in recognition of worked for EPT, the Ethnic Affairs “distinguished eminence in the field Commission and the Ministry for of history”. In 2004 the Italian the Arts of the NSW Government Government awarded him the on cultural and migration issues. In honour of Cavaliere Ufficiale 1989 and 1994 he was member of dell‟Ordine al Merito for facilitating the Australian Delegation re- cultural exchanges between Italy negotiating with the Italian and Australia. He has produced Government the Italo-Australian books, articles, exhibitions and Cultural Agreement. Master of Arts radio and television programs in (First Class Honours) from Sydney Australia and Italy on the history of University in 1978. Doctor of Italian migration to Australia. Letters, honoris causa, from the There are exiles that gnaw and others that are like consuming fire. There is a heartache for the murdered country… - Pablo Neruda We can never forget what happened to our country and we must always remind those responsible that we know who they are. - Elizabeth Rivera One of the more salient and frightening aspects of European dictatorships during the Twentieth Century, in their effort to achieve totalitarian control of 8 their societies, was the grassroots surveillance carried out by their state security organisations, of the plots and machinations of their opponents. Nobody described better this process of capillary penetration in the minds and conditioning of the lives of people living under Communist or Fascist regimes than George Orwell in his book Nineteen Eighty-Four (1), published in 1949 and warning us on the danger of Newspeak, Doublethink, Big Brother and the Thought Police. -
Glass Verrerie Européenne 1920-2000 from One Property
Glass Verrerie Européenne 1920-2000 from one property MERCREDI 7 FÉVRIER 2018 PIASA Contact du département Design Contact presse PIASA Cécile Demtchenko Woringer Frédéric Chambre Tél. : +33 1 53 34 12 95 [email protected] [email protected] Nicolas Denis [email protected] Tél. : +33 1 45 44 43 54 Martin Jalabert [email protected] Tél. : +33 1 53 34 10 06 Alix de Saint-Hilaire Tél. : +33 1 45 44 12 71 [email protected] Pascale Humbert Tél. : +33 1 53 34 10 19 [email protected] Estelle Laporte Tél. : +33 1 53 34 12 80 [email protected] Clémence Paris [email protected] Tél. : +33 1 45 44 43 53 Glass Verrerie Européenne 1920-2000 from one property one from Notre consultant en Belgique pour le département Commissaires-priseurs Arts Décoratifs et Design habilités Thierry Belenger Frédéric Chambre Tél : +32 4 75 98 40 38 Carole Siméons [email protected] Enchérissez en direct sur www.piasa.fr Glass Verrerie Européenne 1920-2000 from one property Vente : mercredi 7 février 2018 à 18h PIASA 118 rue Faubourg Saint-Honoré 75 008 Paris Exposition publique Vendredi 2 février 2018 de 10 à 18 heures Samedi 3 février 2018 de 11 à 18 heures Lundi 5 février 2018 de 10 à 18 heures Mardi 6 février 2018 de 10 à 18 heures Mercredi 7 février 2018 de 10 à 12 heures Téléphone pendant l’exposition et la vente +33 1 53 34 10 10 Enchérissez en direct sur www.piasa.fr France • Gabriel Argy Rousseau (1885-1953) • Georges Chevalier (1894-1987) pour la manufacture de Baccarat • Aristide Colotte (1885-1959) • Paul Daum (1888-1944) pour la Manufacture Daum Nancy France • Pierre Gaillard (XXème) • Jean Luce (1895-1964) • André Thuret (1898-1965) VERRERIE EUROPÉENNE : D.R. -
A British Reflection: the Relationship Between Dante's Comedy and The
A British Reflection: the Relationship between Dante’s Comedy and the Italian Fascist Movement and Regime during the 1920s and 1930s with references to the Risorgimento. Keon Esky A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy, Faculty of Arts and Social Sciences. University of Sydney 2016 KEON ESKY Fig. 1 Raffaello Sanzio, ‘La Disputa’ (detail) 1510-11, Fresco - Stanza della Segnatura, Palazzi Pontifici, Vatican. KEON ESKY ii I dedicate this thesis to my late father who would have wanted me to embark on such a journey, and to my partner who with patience and love has never stopped believing that I could do it. KEON ESKY iii ACKNOWLEDGEMENTS This thesis owes a debt of gratitude to many people in many different countries, and indeed continents. They have all contributed in various measures to the completion of this endeavour. However, this study is deeply indebted first and foremost to my supervisor Dr. Francesco Borghesi. Without his assistance throughout these many years, this thesis would not have been possible. For his support, patience, motivation, and vast knowledge I shall be forever thankful. He truly was my Virgil. Besides my supervisor, I would like to thank the whole Department of Italian Studies at the University of Sydney, who have patiently worked with me and assisted me when I needed it. My sincere thanks go to Dr. Rubino and the rest of the committees that in the years have formed the panel for the Annual Reviews for their insightful comments and encouragement, but equally for their firm questioning, which helped me widening the scope of my research and accept other perspectives. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Download New Glass Review 21
NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Una Misión Fascista En América Latina: La Travesía De La R
Centro de Investigación y Docencia Económicas A.C. División de Historia. Una misión fascista en América Latina: la travesía de la R. Nave Italia, 1922-1924. Tesis que para obtener el grado de Maestro en Historia Internacional presenta Walter Raúl de Jesús Martínez Hernández. Asesor: Dr. Marco Zuccato. 2014. 1 Índice. Agradecimientos. 3 Introducción. 5 Capítulo I. Punto de partida. 14 Capítulo II. Una nave llamada Italia. 27 Capítulo III. La travesía Latinoamericana. 63 Capítulo IV. México: un estudio de caso. 87 Epílogo. 129 Consideraciones finales. 146 Anexo I. 154 Anexo II. 163 Fuentes. 177 2 Agradecimientos. Dedico este trabajo a mi familia, que me apoyó y reconfortó en los momentos más complicados. Agradezco infinitamente el cariño y el apoyo moral que me ha brindado la mujer con la que he compartido los últimos seis años de mi vida, Daniela Calderón Canseco. Expreso también mi agradecimiento al Ingeniero Roberto Hernández López, sin cuyo respaldo no hubiera podido concretar este y otros proyectos de vida. Mi gratitud inmensa para el profesor Stefano Tedeschi de la Università La Sapienza di Roma, quien tuvo la gentileza de aceptar y asesorar mi estancia de investigación en Italia. Doy gracias, igualmente, al Dr. Paolo Evangelisti por haberme dado orientación y asesoría personalizada durante mi labor en el Archivio Storico della Camera dei Deputati en Roma. Quiero agradecer al Dr. Marco Zuccato, mi asesor de tesis, por el compromiso que asumió con mi trabajo y todos los consejos francos y útiles que me ha dado. No olvidaré tampoco las críticas, opiniones y recomendaciones tan valiosas de la Dra. -
Redalyc.MASONERÍA Y FASCISMO EN ITALIA: UNA RELACIÓN AMBIGUA (1922-1943)
Diálogos - Revista do Departamento de História e do Programa de Pós-Graduação em História ISSN: 1415-9945 [email protected] Universidade Estadual de Maringá Brasil Savarino, Franco MASONERÍA Y FASCISMO EN ITALIA: UNA RELACIÓN AMBIGUA (1922-1943) Diálogos - Revista do Departamento de História e do Programa de Pós-Graduação em História, vol. 13, núm. 1, 2009, pp. 167-184 Universidade Estadual de Maringá Maringá, Brasil Disponible en: http://www.redalyc.org/articulo.oa?id=305526877009 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Diálogos, DHI/PPH/UEM, v. 13, n. 1 p. 167-184, 2009. MASONERÍA Y FASCISMO EN ITALIA: UNA RELACIÓN AMBIGUA (1922-1943) * Franco Savarino** Resumen. La formación de un régimen autoritario en Italia en 1922 (desde 1925 dictadura totalitaria), causó un enfrentamiento con la masonería. Inicialmente varias logias apoyaron la llegada al poder de Mussolini, y entre los fascistas había muchos masones. Sin embargo, existía una fuerte corriente antimasónica heredada del nacionalismo, que compartía personalmente el Jefe de los «camisas negras» y varios líderes importantes del nuevo régimen. La masonería fue primero prohibida en las filas del Partido y luego (1925) proscrita. Aquí me propongo indagar sobre los motivos que llevaron a este enfrentamiento y el significado de la oposición masonería-fascismo, frente al programa fascista de alianza con fuerzas liberales, acercamiento a la Iglesia católica y formación de una nueva «religión política» incompatible con la tradición masónica. -
Ruling Elites.Indb
António Costa Pinto is a professor Dictators do not rule alone, and a governing elite stratum is always ANTÓNIO COSTA PINTO After the so-called ‘third wave’ of de- of politics and contemporary Euro- formed below them. This book explores an underdeveloped area in the study ANTÓNIO COSTA PINTO mocratisation at the end of the 20th pean history at the Institute of Social of fascism: the structure of power. The old and rich tradition of elite studies Edited by century had significantly increased the Sciences, University of Lisbon. He has can tell us much about the structure and operation of political power in the number of democracies in the world, been a visiting professor at Stanford dictatorships associated with fascism, whether through the characterisation of the survival of many dictatorships has University (1993) Georgetown Uni- had an important impact. Taking as the modes of political elite recruitment, or by the type of leadership, and the versity (2004), a senior associate mem- starting point the dictatorships that ber at St Antony’s College, Oxford relative power of the political institutions in the new dictatorial system. emerged since the beginning of the University (1995) and a senior visiting Analyzing four dictatorships associated with fascism (Fascist Italy, Nazi 20th century, but mainly those that fellow at Princeton University (1996) Germany, Salazar’s Portugal and Franco’s Spain), the book investigates the were institutionalised after 1945, the and at the University of California, dictator-cabinet-single party triad from -
Consensus for Mussolini? Popular Opinion in the Province of Venice (1922-1943)
UNIVERSITY OF BIRMINGHAM SCHOOL OF HISTORY AND CULTURES Department of History PhD in Modern History Consensus for Mussolini? Popular opinion in the Province of Venice (1922-1943) Supervisor: Prof. Sabine Lee Student: Marco Tiozzo Fasiolo ACADEMIC YEAR 2016-2017 2 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Declaration I certify that the thesis I have presented for examination for the PhD degree of the University of Birmingham is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of my words. 3 Abstract The thesis focuses on the response of Venice province population to the rise of Fascism and to the regime’s attempts to fascistise Italian society. -
DU VERRE Architecte : LM
JE NE ME SUIS JAMAIS SENTI AUSSI BIEN QUE DEPUIS QUE J'AI TOUT PERDU ... GRACE_ A L'ASSISTANCE AIDE-MEMO 24H/24 C'est vrai : chaque jour, en France, des milliers de personnes perdent - ou se font voler- leur portefeuille : plus de cartes de crédit, plus de carte d'identité, plus de permis de conduire, plus d'argent, même pour téléphoner, bref, plus rien! Vous avez des cartes de crédit? (cartes bancaires, de grands magasins, PTT Pastel, AMEX, Diners, La Redoute, 3 Suisses,.. .) Vous savez que la fraude sur ces cartes a lieu dans les premières heures suivant la perte ou le vol, avant que vous n'ayez le temps de contacter les différents centres d'opposition. Savez-vous que ces centres d'opposition vont vous demander le numéro de ces cartes que précisément vous n'avez plus! Et connaissez-vous leurs numéros d'appel? Savez-vous enfin que si vous effectuez vous-même une opposition en cas de perte ou de vol d'une carte, vous ne recevrez en règle générale aucune confirmation écrite de votre appel, vous dégageant de toute responsabilité? Vous avez de l'argent sur vous? Savez-vous comment faire, en cas de perte ou de vol, et que vous êtes loin de votre domicile? Grâce au numéro vert (ou en PCV) et au réseau international d'Europ Assistance, A/DE-MEMO 24H/24 peut vous avancer très vite de l'argent pour rentrer, que vous soyez en France ou à /'étranger Vous avez des bagages? Vous avez donc très probablement des étiquettes bagages avec en clair votre nom et votre adresse. -
Vom Erscheinungsbild Zum „Corporate Design“: Beiträge Zum Entwicklungsprozess Von Otl Aicher
Vom Erscheinungsbild zum „Corporate Design“: Beiträge zum Entwicklungsprozess von Otl Aicher Nadine Schreiner Als Dissertation eingereicht bei der Bergischen Universität Wuppertal Fachbereich F: Architektur-Design-Kunst Wuppertal, im Juni 2005 Die Dissertation kann wie folgt zitiert werden: urn:nbn:de:hbz:468-20050270 [http://nbn-resolving.de/urn/resolver.pl?urn=urn%3Anbn%3Ade%3Ahbz%3A468-20050270] Mein ausdrücklicher Dank gilt, Prof. Dr. phil. Dr. h. c. Siegfried Maser und Prof. Dr. phil. Burghart Schmidt, für die äußerst wertvolle Unterstützung und Zusammenarbeit. Inhalt Einleitung 1 1. Kapitel Frühe Projekte 1.0 Frühe Projekte 4 1.1 Plakate Ulmer Volkshochschule 1945-62 4 1.2 Firma Max Braun, (Elektrogeräte) 1954-62 12 1.3 Deutsche Lufthansa 1962-64 21 1.4 Resümee 39 2. Kapitel XX. Olympische Spiele 1972 in München 2.0 Einleitung 40 2.1 Farbkodierung 43 2.2 Emblem 48 2.3 Eine humane Schrift – die Univers 54 2.4 Münchner Verkehrsschrift – Traffic 56 2.5 Typografisches System – Ordnungsprinzipien 60 2.6 Plakate 64 2.7 Piktogramme 67 2. 8 Urbanes Gestaltungskonzept – Fahnen 74 2. 9 Einkleidung 77 2.10 Olympia-Souvenirs 78 2.11 Architektur 84 2.12 Resümee 86 3. Kapitel Die Zeit nach Olympia – die 70er Jahre 3.0 Einleitung 89 3.1 Zweites Deutsches Fernsehen 95 3.2 Studioausstattung 95 3.3 Visuelle Konstanten und Elemente – Farbkodierung 98 3.4 Hausschrift und Logogramm 100 3.5 Senderkennzeichen 101 3.6 Bildschirm – Raster und Anwendungen 103 3.7 ZDF-Uhr – analog oder digital 104 3.8 Satzspiegel und Typografie 104 3.9 Beschilderung und Information 106 3.10 Objekte und Fahrzeuge 108 3.11 Resümee über ein neues Selbstverständnis 109 3.12 Re-Design Stufen im Erscheinungsbild ZDF 110 3.13 Zum Vergleich: 112 Das visuelle Erscheinungsbild des Südwestfunks von Herbert W.