L'Asse Tripartito Italia-Germania- Giappone e la Cina

Germany, Italy and Japan were engaged in China from the turn of the 20th century to WWII. However, they formed an anti-Chinese alliance only at the final stage of their presence there, when Japan assumed an undisputed role of leader in the region. Despite its alliance with the Axis powers, Japan never implemented racial laws against the Jews in China. All of them took part in the Boxer Upraising suppression and received as a consequence extraterritorial rights and concessions. Moreover, Japan won the war against China in 1895 and transformed itself from a tributary country of China into an imperialistic power. It took possession of Taiwan and in the 1930s established a puppet government in Manchuria.Germany followed different route obtaining as indemnity for the murders of two missionaries the control of the Shandong province, which was later expanded thanks to the anti-Boxer coalition's victory. However, Germany lost all possessions when China entered WWI. The issue of Shandong was finally resolved at the Conference for Disarmament hold in Washington in 1921-2. Japan failed to gain ex-Germany territories. Finally, Italy arrived in the Far East at the turn of the century but was not very interested in the oriental colonialism to the same extent it was interested in Africa. Tianjin was its only concession in China, and it took almost a decade before a subvention to arrive from the Italian government for its development.In the 1920s and 1930s Germany and Italy engaged in successful diplomatic, commercial and military relationships with China. In fact, both were considered China's partners thanks to their experts at the service of the Chinese government. On the other hand, Japan position was opposite to them, because of its plans of aggression towards China which was to be transformed into “the natural extension” of the mainland. In 1935 Italy declared war on Ethiopia and abandoned the seat at the League of Nations. China interpreted the Italian aggression as the endorsement of Japan's politics towards China in Manchuria, and the relations between the two countries were broken off. After that Italy supported Wang Jingwei's puppet government during the Japanese occupation of China. Germany followed the same path in 1937, when it was evident that the Japanese were playing the leading role in the region, and decided to ally with Wang Jingwei too. Both Italy and Germany decided also to recognise the Manzhuguo and established diplomatic relations, definitively turning their backs on the old Chinese ally.The Rome-Berlin-Tokyo Axis sealed the alliance among the three countries, and it confirmed Japan as the leading power in the region. Nevertheless Japan did not apply the racial law against the Jews in China.

História da arte moderna portuguesa : do Manuelino ao Renascimento

Académico - Licenciaturas

História da arte moderna portuguesa : Maneirismo, estilo chão e Barroco

Académico - Licenciaturas

História da arte moderna portuguesa : o esplendor do Barroco

Académico - Licenciaturas

História da arte moderna portuguesa : do Rococó ao Neoclassicismo

Académico - Licenciaturas

Utopia moderna em África

Dissertação para obtenção do grau de Mestre em Arquitectura, apresentada na Universidade de Lisboa - Faculdade de Arquitetura.

Libro di M. Giovanbattista Palatino ... : nel qual s'insegna a scrivere ogni sorte lettera, antica, et moderna di qualunque natione con la sue regole et misure et essempi ...

riveduto nuovamente et corretto / dal propio autore ...

Den framställande gesten : Om konstverkets presentation i den moderna konstutställningen

The Gesture of Exposure On the presentation of the work of art in the modern art exhibition The topic of this dissertation is the presentation of art works in the modern art exhibition as being the established and conventionalized form of art encounter. It investigates the possibility of a theorization of the art exhibition as a separate object for research, and attempts to examine the relationship between the art work and its presentation in a modern art exhibition. The study takes its point of departure in the area vaguely defined as exhibition studies, and in the lack of a general problematization of the analytical tools used for closer examination of the modern art exhibition. Another lacking aspect is a closer consideration of what happens to the work of art when it is exposed in an art exhibition. The aim of the dissertation is to find a set of concepts that can be used for further theorization The art exhibition is here treated, on the one hand, as an act of exposure, as a showing gesture. On the other hand, the art exhibition is seen as a spatiality, as a space that is produced in the act of showing. Both aspects are seen to be intimately involved in knowledge production. The dissertation is divided into four parts, in which different aspects of the art exhibition are analyzed using different theoretical approaches. The first part uses the archaeological model of Michel Foucault, and discusses the exhibition as a discursive formation based on communicative activity. The second part analyses the derived concepts of gesture and space. This leads to the proposition of three metaphorical spatialities the frame, the agora and the threshold which are seen as providing a possibility for a further extension of the theory of exhibitions. The third part extends the problematization of the relationship between the individual work of art and its exposure through the ideas of Walter Benjamin and Maurice Blanchot. The fourth part carries out a close reading of three presentations from the modern era in order to further examine the relationship between the work of art and its presentation, using the tools that have been developed during the study. In the concluding section, it is possible to see clearer borderlines and conditions for the development of an exhibition theory. The concepts that have been analysed and developed into tools are shown to be useful, and the examples take the discussion into a consideration of the altered premises for the encounter with the postmodern work of art.

Idyll eller verklighet? : Albert Edelfelt och Gunnar Berndtson i det moderna genombrottets ambivalens

Idyll or Reality? Albert Edelfelt, Gunnar Berndtson and the ambivalent breakthrough of modernity Albert Edelfelt (1854-1905) and Gunnar Berndtson (1854-1895) have much in common. In this dissertation, I study their paintings of local peasants and fishermen and of the gentry’s summer in the county of Uusimaa in southern Finland, in the context of Nordic history of ideas. The breakthrough of modernity, with its attention on debating social problems, provides a novel angle into the oeuvres of the two artists. My focus is on the paintings which emerge in the collision of the public discussion of social matters and the values of the artists’ manorial milieu. The artists’ relation to the public discussion is scrutinized through two of the main topics: the question of the common people and democracy, and the question of equality between men and women. My dissertation is a contextual study which is based on the analysis of the artworks of Edelfelt and Berndtson, on their letters, and on the study of drama and fiction of their time. The notion “liberté, egalité, fraternité” is linked to the breakthrough of modernity. Both artists were aware of the ideal of equality. They used the means and the themes of contemporary art in their presentations, but their pictures contain the ideal of an earlier epoch: the hardworking, but still complacent common people. This conception of the common people is also reflected in the poems of J. L. Runeberg. Women of the late 19th century challenged woman’s primary role as wife and mother. In Edelfelt’s and Berndtson’s depictions of the gentry enjoying summer, women and children have the main role. Notwithstanding the debate of the breakthrough of modernity they depicted women almost without exception as good mothers. Their paintings often depict lazy days in the sunshine, which were, in reality, rare moments for the mistress of the house. Edelfelt’s and Berndtson’s subjects from the Uusimaa countryside coincide with the topics of the breakthrough of modernity, but both the pictures of the common people and the depictions of the gentry enjoying summer, are a retouched picture of reality, often an idyll, in which the public discussion of social matters is evident only materially or not at all.

La teología ante la física moderna : cuestiones fundamentales para un diálogo posible : 2ª parte: la teología de la creación ante la cosmología científica

Resumen: El descubrimiento de la verdadera naturaleza evolutiva y mutable de este universo en que vivimos ha dado origen a la moderna cosmología científica, que con sus modelos del nacimiento y evolución del cosmos plantea estimulantes cuestiones teológicas como la relación entre creación e inicio del universo, la acción divina en el mundo o la teleología y finalidad última de la Creación.

Las puertas de la India : consideraciones sobre la indología moderna

Resumen: El presente trabajo pretende ser una introducción al pensamiento de la India. Comienza considerando el desarrollo de la Indología, en sus distintas etapas y corrientes metodológicas, e incluye una precisión sobre estos estudios en la Argentina. Luego de centrarse en la perspectiva hermenéutica, se detallan las épocas de la tradición clásica de la India y las características básicas de su espiritualidad. La autora se adentra a continuación en cuatro nociones que pueden comprenderse como portales de acceso al mundo Indio: mâyâ, karma, yoga y moksha. A la luz de estas nociones tan específicas, la conclusión plantea el diálogo entre disciplinas y culturas como vía para comprender la profunda interdependencia del mundo.

De la lírica medieval a la moderna : tradicionalidad e individualidad en la poesía española

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII : Actas de las X Jornadas Internacionales de Literatura Española Medieval, 2011, y de Homenaje al Quinto Centenario del Cancionero General de Hernando del Castillo.

El conocimiento técnico (y la cultura tecnocrática moderna) : aportes del realismo

Resumen: El conocimiento técnico parece estar sobrevalorado. Esta situación puede provenir de una consideración aislada de aquel tipo de conocimiento. Una correcta integración de los saberes, incluida la técnica, tiende a un desarrollo más armónico de los fines del ser humano.

Frescos caballerescos y artúricos en el norte de Italia : tres castillos en los alrededores de Trento

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII: Actas de las IX Jornadas Internacionales de Literatura Española Medieval, 2008, y de Homenaje al Quinto Centenario de Amadis de Gaula

El concepto de “vida privada” en la fecundación heteróloga y el diagnóstico genético preimplantatorio : a propósito de la STEDH “Costa y Pavan c/Italia, del 28 de agosto de 2012

Resumen: Esta ocasión me brinda la oportunidad de realizar algo más que un mero comentario a la Sentencia del Tribunal Europeo de Derechos Humanos (TEDH), “Costa y Pavan c/ Italia”. Es decir, voy a esbozar una toma de postura prescriptiva contraria a la filosofía individualista de fondo del TEDH respecto al presente caso, en base a un discurso jurídico-filosófico. La frivolidad del TEDH a la hora de tratar algunos temas de bioética y bioderecho se enmarca en el uso de un lenguaje políticamente correcto y de cierto consenso pragmático, recubierto en ocasiones de ropajes jurídico-formales, en lo concerniente al amplio artículo 8º del CEDH. Cuestiones vitales en la configuración de la realidad humana que deben tratarse desde una óptica comprometida con uno mismo y con el tiempo que le ha tocado vivir. Con semejante punto de vista resulta clave otorgar a las palabras un contenido, pero sobre ello siempre subyace el miedo a que las palabras acaben diciendo lo que nosotros queramos que digan. En el ámbito jurídico, en ocasiones, ese nosotros puede ser asumido por algún alto tribunal.