The Roman Salute
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Romanian Political Science Review Vol. XXI, No. 1 2021
Romanian Political Science Review vol. XXI, no. 1 2021 The end of the Cold War, and the extinction of communism both as an ideology and a practice of government, not only have made possible an unparalleled experiment in building a democratic order in Central and Eastern Europe, but have opened up a most extraordinary intellectual opportunity: to understand, compare and eventually appraise what had previously been neither understandable nor comparable. Studia Politica. Romanian Political Science Review was established in the realization that the problems and concerns of both new and old democracies are beginning to converge. The journal fosters the work of the first generations of Romanian political scientists permeated by a sense of critical engagement with European and American intellectual and political traditions that inspired and explained the modern notions of democracy, pluralism, political liberty, individual freedom, and civil rights. Believing that ideas do matter, the Editors share a common commitment as intellectuals and scholars to try to shed light on the major political problems facing Romania, a country that has recently undergone unprecedented political and social changes. They think of Studia Politica. Romanian Political Science Review as a challenge and a mandate to be involved in scholarly issues of fundamental importance, related not only to the democratization of Romanian polity and politics, to the “great transformation” that is taking place in Central and Eastern Europe, but also to the make-over of the assumptions and prospects of their discipline. They hope to be joined in by those scholars in other countries who feel that the demise of communism calls for a new political science able to reassess the very foundations of democratic ideals and procedures. -
Nakterjal Vitiges Kilavea Carroll House Lord
Consigned by Grange Lodge Stables 1 Manila Bien Bien Bienamado Stark Winter (USA) Vitiges CHESNUT MARE Nakterjal (IRE) Kilavea March 25th, 2006 Lord Gayle (First Produce) Carolls Pride Carroll House Tuna (IRE) Over The River (1999) River Rescue Rescued N.B. V.S. Certificate at Sale. 1st dam CAROLLS PRIDE (IRE): ran once in a N.H. Flat Race and ran twice in point-to- points; dam of 4 foals, the above mare, a 4-y-o filly and a 2-y-o gelding both by Hubbly Bubbly (USA) and a yearling colt by Sandmason (GB). 2nd dam RIVER RESCUE: unraced; dam of 10 foals; 6 runners; 3 winners: Healys Bar (IRE) (g. by Beneficial (GB)): winner over hurdles and £29,867 and placed 9 times inc. 3rd Bar One Racing Hatton's Grace Hurdle, Gr.1 and Michael Purcell Memorial Nov. Hurdle, Gr.2 and placed 6 times over fences; also placed in a N.H. Flat Race. Harem Scarem (IRE): 5 wins, £30,972 viz. winner of a N.H. Flat Race; also winner over hurdles and 3 wins over fences and placed 23 times. Stylish Linda (IRE): winner of a N.H. Flat Race and placed twice. Bobby Donald (IRE): placed twice over hurdles and placed 7 times over fences; also winner of a point-to-point. Americo Rescue (IRE): unraced; dam of a winner: Fidelis (IRE): winner over fences at 6, 2010; also placed 5 times over hurdles at 5 and 6, 2010 and placed twice in N.H. Flat Races. Safety Recue (IRE): winner of a point-to-point and placed twice. -
Tra Fascismo Ed Antifascismo Nel Salernitano
TRA FASCISMO E ANTIFASCISMO NEL SALERNITANO di Ubaldo Baldi Dopo la “grande paura” della borghesia italiana del biennio rosso e la “grande speranza” per il proletariato della occupazione delle fabbriche del settembre 1920 , gli anni che vanno dal 1920 al 1923 , sono caratterizzati in Italia dalle aggressioni squadristiche fasciste. Queste hanno l’obiettivo di smantellare militarmente le sedi dei partiti e delle organizzazioni sindacali della sinistra e con una strategia del terrore eliminare fisicamente e moralmente le opposizioni. Una essenziale , ma non meno drammatica, esposizione di cifre e fatti di questo clima terroristico si ricava da quanto scritto in forma di denunzia da A. Gramsci nell’ “Ordine Nuovo” del 23.7.21 . Nel salernitano il fascismo si afferma, sia politicamente che militarmente, relativamente più tardi, sicuramente dopo la marcia su Roma. Questo fu solo in parte dovuto alla forza e al consistente radicamento all’interno del proletariato operaio delle sue rappresentanze sindacali e politiche. Di contro gli agrari e il padronato industriale ma anche la piccola borghesia , in linea con il classico trasformismo meridionale, prima di schierarsi apertamente , attesero il consolidamento del fascismo e il delinearsi preciso della sua natura per poi adeguarsi conformisticamente alla realtà politico-istituzionale che andava rappresentandosi come vincente. Anche perché ebbero ampiamente modo di verificare e valutare concretamente i privilegi e i vantaggi economici che il fascismo permetteva loro. Il quadro economico provinciale -
Procedures for Reverencing the Tabernacle and the Altar Before, During and After Mass
Procedures for Reverencing the Tabernacle and the Altar Before, During and After Mass Key Terms: Eucharist: The true presence of Christ in the form of his Body and Blood. During Mass, bread and wine are consecrated to become the Body and Blood of Christ. Whatever remains there are of the Body of Christ may be reserved and kept. Tabernacle: The box-like container in which the Eucharistic Bread may be reserved. Sacristy: The room in the church where the priest and other ministers prepare themselves for worship. Altar: The table upon which the bread and wine are blessed and made holy to become the Eucharist. Sanctuary: Often referred to as the Altar area, the Sanctuary is the proper name of the area which includes the Altar, the Ambo (from where the Scriptures are read and the homily may be given), and the Presider’s Chair. Nave: The area of the church where the majority of worshippers are located. This is where the Pews are. Genuflection: The act of bending one knee to the ground whilst making the sign of the Cross. Soon (maybe even next weekend – August 25-26) , the tabernacle will be re-located to behind the altar. How should I respond to the presence of the reserved Eucharist when it will now be permanently kept in the church sanctuary? Whenever you are in the church, you are in a holy place, walking upon holy ground. Everyone ought to be respectful of Holy Rosary Church as a house of worship and prayer. Respect those who are in silent prayer. -
Bowing to Tradition.Pdf
2012 EPIK Episode 1 Bowing to Tradition Lauren Fitzpatrick (Yeongwol Elementary School) One thing I didn’t realize about myself until I came to Korea: I’m a waver. When somebody says hello to me, my first instinct is to hold up my palm and wave in response. I blame my Midwestern upbringing. When I first met my students, I felt like the Queen, constantly waving back to them as I walked down the hallway. During my first week at Yeongwol Elementary School in rural Gangwon-do, my co- teacher gently pulled me aside. “Lauren teacher,” she said carefully. “Please, do not wave at the students. I think it confuses them.” Now I was confused. What was wrong with waving? My co-teacher explained that things were changing in Korea. The traditional way of greeting an elder is to bow respectfully. But the world is growing smaller; cultural boundaries are not always easily defined. Now, instead of bowing, students often wave - especially to the native teachers. “I worry that we are losing our traditions,” my co-teacher said. “I see my daughter waving to her friends, and many students call the EPIK teachers by their first names. That is not Korean culture. They should always call you Lauren Teacher and bow. If you bow to them, they will remember to do it to you.” To be honest, it felt kind of…weird. I still wasn’t used to bowing to anyone, let alone to children. It felt awkward, as if I was doing it wrong. My biggest fear was inadvertently insulting the principal by not bending enough at the waist or doing something inappropriate with my hands. -
Cinema/Origini
CINEMA/ORIGINI N. 2 Collana diretta da Elena Dagrada (Università degli Studi di Milano) COMITATO SCIENTIFICO Elena Dagrada (Università degli Studi di Milano) Frank Kessler (Universiteit Utrecht) Michèle Lagny (Université de la Sorbonne Nouvelle, Paris III) S A CABIRIA (Giovanni Pastrone, 1914) Lo spettacolo della Storia MIMESIS Cinema/origini © 2014 – M E (Milano – Udine) Isbn: 9788857521572 Collana: Cinema/origini, n. 2 www.mimesisedizioni.it Via Risorgimento, 33 – 20099 Sesto San Giovanni (MI) Telefono +39 02 24861657 / 02 24416383 Fax: +39 02 89403935 E-mail: [email protected] Immagine di copertina: Manifesto per un’edizione di Cabi- ria distribuita negli Stati Uniti dalla Latin Films Company nel 1921. Per Alberto Friedemann, amico e maestro INDICE I 11 C C 15 S 17 I 21 1. Gli anni d’oro del cinema italiano e il ruolo di Torino 21 2. Lo spettacolo della Storia 25 3. Un ragioniere alla conquista del mondo 29 I 37 1. Un making avventuroso 37 2. Il ruolo di D’Annunzio e la “parola-immagine” 43 3. Nazionalismo a bassa intensità 46 4. Un sistema di attrazioni 50 5. La conquista dello spazio e la rivoluzione scenografi ca 53 6. Il quadro mobile 60 7. La religione del fuoco 68 8. La scena onirica 75 9. Il gioco dei destini incrociati: l’offi cina del racconto dal soggetto al fi lm 79 10. Il fi lm che visse due volte 87 B 111 A 113 P C 115 CABIRIA (Giovanni Pastrone, 1914) Lo spettacolo della Storia 11 INTRODUZIONE Realizzato a Torino tra il 1913 e il 1914 da Gio- vanni Pastrone, Cabiria è senza dubbio il più celebre fi lm del cinema muto italiano e uno dei grandi miti culturali del Novecento. -
Zur Geschichte Des Italienischen Stummfilms
PD. Dr. Sabine Schrader Geschichte(n) des italienischen Stummfilms Sor Capanna 1919, S. 71 1896 Erste Vorführungen der Brüder Lumières in Rom 1905 Spielfilm La presa di Roma 1910-1915 Goldenes Zeitalter des italienischen Stummfilms 1920er US-amerikanische Übermacht 1926 Erste cinegiornali 1930 Erster italienischer Tonfilm XXXVII Mostra internazionale del Cinema Libero IL CINEMA RITROVATO Bologna 28.6.-5.7.2008 • http://www.cinetecadibologna.it/programmi /05cinema/programmi05.htm Istituto Luce a Roma • http://www.archivioluce.com/archivio/ Museo Nazionale del Cinema a Torino (Fondazione Maria Prolo) • http://www.museonazionaledelcinema.it/ • Alovisio, Silvio: Voci del silenzio. La sceneggiatura nel cinema muto italiano. Mailand / Turin 2005. • Redi, Riccardo: Cinema scritto. Il catalogo delle riviste italiane di cinema. Rom 1992. Vita Cinematografica 1912-7-15 Inferno (1911) R.: Francesco Bertolini / Adolfo Padovan / Giuseppe De Liguoro Mit der Musik von Tangerine Dream (2002) Kino der Attraktionen 1. „Kino der Attraktionen“ bis ca. 1906 2. Narratives Kino (etabliert sich zwischen 1906 und 1911) Gunning, Tom: „The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde”, in: Thomas Elsaesser (Hg.): Early Cinema: Space Frame Narrative. London 1990, S. 56-62 Vita Cinematografica 1913, passim Quo vadis? (1912/1913) R.: Enrico Guazzoni Mit der Musik von Umberto Petrin/ Nicola Arata La presa di roma (1905) Bernardini 1981 (2), 47. Cabiria (1914) R.: Giovanni Pastrone; Zwischentitel: u.a. D„Annunzio Kamera: u.a. Segundo de Chomòn -
Stoic Enlightenments
Copyright © 2011 Margaret Felice Wald All rights reserved STOIC ENLIGHTENMENTS By MARGARET FELICE WALD A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in English written under the direction of Michael McKeon and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey October 2011 ABSTRACT OF THE DISSERTATION Stoic Enlightenments By MARGARET FELICE WALD Dissertation Director: Michael McKeon Stoic ideals infused seventeenth- and eighteenth-century thought, not only in the figure of the ascetic sage who grins and bears all, but also in a myriad of other constructions, shaping the way the period imagined ethical, political, linguistic, epistemological, and social reform. My dissertation examines the literary manifestation of Stoicism’s legacy, in particular regarding the institution and danger of autonomy, the foundation and limitation of virtue, the nature of the passions, the difference between good and evil, and the referentiality of language. Alongside the standard satirical responses to the ancient creed’s rigor and rationalism, seventeenth- and eighteenth-century poetry, drama, and prose developed Stoic formulations that made the most demanding of philosophical ideals tenable within the framework of common experience. Instead of serving as hallmarks for hypocrisy, the literary stoics I investigate uphold a brand of stoicism fit for the post-regicidal, post- Protestant Reformation, post-scientific revolutionary world. My project reveals how writers used Stoicism to determine the viability of philosophical precept and establish ways of compensating for human fallibility. The ambivalent status of the Stoic sage, staged and restaged in countless texts, exemplified the period’s anxiety about measuring up to its ideals, its efforts to discover the plenitude of ii natural laws and to live by them. -
Furthest Voices in Virgil's Dido I
FURTHEST VOICES IN VIRGIL’S DIDO I ‘We have to stop somewhere, but we also have to face the fact that any par- ticular stopping-place is therefore our choice, and carries with it ideological implications.’ Don Fowler 1 ‘Magnus est Maro’. I. L. La Cerda 2 Part one Reading Dido – in the Aeneid and beyond – has always been an intensely charged literary and political game. A sensitive, loving woman, Dido offers Aeneas a real alternative to the complex business of setting Rome in motion, and her death shows the enormous price there is to pay in terms of human fulfilment and happiness for the sake of empire building. How more or less sympathetic and straightforward she is seen to be is of course crucial to our perception of Aeneas as epic hero, and to the meaning of the Aeneid as a whole. It is only natural that throughout the 20th century, and into the 21st, critics have over- whelmingly packaged this fascinating character as the archetypical ‘other voice’ to the poem’s teleological (not to say ‘Augustan’) plot. 1 D. P. FOWLER 1997: 25 = 2000: 127-128. 2 LA CERDA: vol. 1, p. 441. Furthest Voices in Virgil’s Dido 61 This comfortable opposition rests to a significant extent on a one- sided reading of Dido’s emotional intricacies. Already ancient poets and readers, from Ovid to the Christians, vigorously edited Virgil’s Dido to produce their own challenge to his epic. Building upon Heinze’s influ- ential treatment, modern critics have favoured a comparable approach: current readings emphasize the image of a loving and forlorn heroine whose short outbursts of rage and fury are evanescent – and justified. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford 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/427 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] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
2 Fifteenth Berkeley Festival & Exhibition 2
2 FIFTEENTH BERKELEY FESTIVAL & EXHIBITION 2 june 3–10, 2018 Festival Advisory Committee, Board of Directors & Staff ...............................................................................................2 Festival Supporters ...........................................................................................................................................................3 Welcome ..........................................................................................................................................................................6 Festival Calendar .............................................................................................................................................................8 Main Stage Players Sunday, June 3 Seattle Historical Arts for Kids ...............................................................................................................................14 California Bach Society ..........................................................................................................................................17 Monday, June 4 Christine Brandes & Elizabeth Blumenstock ..........................................................................................................23 Tuesday, June 5 San Francisco Conservatory Baroque Ensemble Students and Alumni ...................................................................27 Davis Senior High School Baroque Ensemble ........................................................................................................30 -
Workers' Demonstrations and Liberals
Workers’ Demonstrations and Liberals’ Condemnations: the Italian Liberal Press’s Coverage of General Strikes, Factory Occupations, and Workers’ Self-Defense Groups during the Rise of Fascism, 1919-1922 By Ararat Gocmen, Princeton University Workers occupying a Turin factory in September 1920. “Torino - Comizio festivo in una officina metallurgica occupata.” L’Illustrazione italiana, 26 September 1920, p. 393 This paper outlines the evolution of the Italian liberal press’s in the liberal press in this way, it illustrates how working-class coverage of workers’ demonstrations from 1919 to 1922. The goal radicalism contributed to the rise of fascism in Italy.1 is to show that the Italian liberal middle classes became increas- ingly philofascistic in response to the persistency of workers’ dem- onstrations during this period. The paper analyzes articles from 1 I would like to thank Professor Joseph Fronczak for his guidance the Italian newspapers La Stampa and L’Illustrazione italiana, in writing this paper, especially for his recommended selections treating their coverage of general strikes, factory occupations, and from the existing historiography of Italian fascism that I cite workers’ self-defense groups as proxies for middle-class liberals’ throughout. I am also grateful to Professors Pietro Frassica and interpretations of workers’ demonstrations. By tracking changes Fiorenza Weinapple for instructing me in the Italian language 29 Historians of Italian fascism often divide the years lead- workers’ demonstrations took place during the working-class ing up to the fascists’ rise to power—from the immediate mobilization of 1919-1920, strikes—sometimes even large aftermath of the First World War at the beginning of 1919 to ones—remained a persistent phenomenon in the two years Benito Mussolini’s March on Rome in October 1922—into of violent fascist reaction that followed.7 Additionally, while two periods.