Karl Otmar von Aretin - Reichsverfassung und Mindermächtige. Geistliche Fürsten und italienische Vasallen als Stützen der kaiserlichen Reichspolitik1
This essay explores the role of the «Mindermächtige» – the lesser princes, the Reichsgrafen, the ecclesiastical princes, the imperial cities – in the Alte Reich. Essentially, the emperor’s influence in the Reich relied on these «Mindermächtige» and when they disappeared together with the ecclesiastical princes in the wake of the secularization and the Napoleonic upheavals, the Reich was no longer governable by a catholic emperor. As a result, Emperor Francis II felt compelled to declare the Reich defunct on August 6, 1806.
Gian Mario Cao - Pico della Mirandola goes to Germany. With an edition of Gianfrancesco Pico’s «De reformandis moribus oratio»
The aim of this article is to reassess Gianfrancesco Pico’s relationship with the German-speaking world. Particularly considered are Pico’s correspondence with scholars and printers (such as Willibald Pirckheimer and Thomas Wolf); the several German editions of both Gianfrancesco and Giovanni Pico’s writings; and Gianfrancesco’s frequent traveling to Germany (at least seven trips between 1502 and 1517). The article also provides the edition of De reformandis moribus, an oration concerning the moral decay of the Church that Pico addressed to Pope Leo X during the Fifth Lateran Council (1512-1517) and was first published in Alsatia in 1520. The text presented here is based upon a philological examination of all the nine surviving copies, namely a Casanatense codex and eight printed editions (1520, 1523, 1535, 1601, 1606, 1610, 1690, and 1817), the latter mostly published north of the Alps as well as included in collections strongly critical of Catholicism and subsequently put on the Index.
Paolo Carta - Lo spirito ‘religioso’ del diritto: Salvatore Satta e Piero Calamandrei
The uninterrupted dialogue between two of the most important Italian jurists and politicians of the 20th century, Piero Calamandrei and Salvatore Satta, leads to the discovery of a humanistic tradition that still comprehends law in lay terms as religio.
Emanuele Curzel - Attraverso le Alpi. Mobilità clericale fra XIII e XV secolo
This essay has as its object clerical mobility in the late middle ages in the alpine area and tries to distinguish between different historical phases and different typologies. It is known that between the 9th and the 12th centuries the bishops’ sees of northern and central Italy were often occupied by nobles from southern Germany; after the eclipse of imperial power (second half of the 13th century), there was a significant return of bishops from the north to Italian cities in the 14th century, spurred by the activism of the Luxembourg-Bohemia and Austrian Habsburg dynasties. Generally the cathedral canons were expressions of the ruling classes of the single cities: in Trento, however, many came from the German speaking area, also because of Tyrolean interference into the bishopric. The clergy’s attitude towards the cure of souls needs to be further investigated; the clergy’s increased mobility – building careers and working in areas very far from home – on the other hand, is a fact.
Claudio Donati - Chiesa italiana e vescovi d’Italia dal XVI al XVIII secolo. Tra interpretazioni storiografiche e prospettive di ricerca
In the introductory section of this essay, the research of the last decades about the head offices of the Papal Curia and the structures of the Italian episcopates, in the period from the 16th to the 18th century is presented and discussed. The next section deals with a number of questions regarding the ties between the Curia, the episcopates, and the Italian States. The following theories are explored: a) the close connection between the Curia and the episcopates as the crucial element characterizing the Italian Church in the Early Modern period; b) the fact that in the same period Italy as a whole was «suburban» with respect to Rome, which meant that the Pope and the Curia exercised their authority and jurisdiction in many matters over most of the Italian States, and c) that also the Italian Church experienced a kind of a «episcopalian» stage in the last decades of the 17th and at beginning of the 18th century.
Maria Albina Federico - L’Archivio della Curia Vescovile di Feltre e il fondo «a parte Imperii»
In the 17th and 18th centuries, the controversies regarding the juridical competence of the house of Austria in those territories politically dependent on authorities whose points of reference were – from an ecclesiastical point of view – Venetian bishops had increasing influence on the government of the dioceses bordering the Venetian Terraferma. This also becomes evident in the diocese of Feltre where the bishops gradually became aware of the importance of separately considering the territories of the diocese politically tied to the Empire. The structure of the Archivio della Curia Vescovile in Feltre reveals how the growing «political» awareness of the bishops of Feltre in the government of the dioceses determined the gradual putting in place of a collection «a parte Imperii», in order to separately collect the correspondence coming from the imperial part of the diocese. This collection was added to the miscellaneous volumes which constitute the archive’s main corpus. The stratification of different methodologies in the papers of the «pars Imperii» highlights, on the one hand, the role played by the chancellors and the archivists of the curia, and on the other, the changes in the criteria for collecting documents due to political changes.
Helmut Flachenecker - Kirchengeschichtsschreibung zwischen Wissenschaft, Hagiographie und Politik. Historisch-statistisch oder religiös-staatstragend?
There was a vast increase in ecclesiastical historiography in the 16th and 17th centuries in Western Europe. The main reason for this development was the birth of the different religious denominations, which made it necessary to have distinctive proof of evidence for former rights and possessions in religious and juridical arguments. In Germany and in Italy a varied, historical-statistical church historiography developed. Ferdiand Ughelli’s Italia Sacra concentrated on the history of the bishops and dioceses. Ughelli and his German colleagues all had the problem that neither a unified Germania nor Italia actually existed, so that their works mirror a unity that did not correspond to the political reality. Furthermore, growing numbers of hagiographic books were published in the 18th century as saints enjoyed an increasing importance as state patrons. Bavaria Sancta and Germania Sacra stood next to each other: whereas the description of a terra sancta was oriented along Episcopal boundaries, the terra sancta description was younger and focused on a secular territory.
Alessandra Frigerio - Umanesimo del diritto: il «De modo in iure studendi» di Giovanni Battista Caccialupi (1467)
Historiography on juridical humanism has for some time felt the necessity of a complete restoration of the writings de modo studendi in iure. They are of primary importance not only for cultural history but also for the history of the university and their passage from the middle ages to the modern period. The de modo studendi in iure are genuine methodological and scholastic manuals and precisely depict the political, social, and cultural function to which the jurists felt called. They thus entered into the so-called intellectual «disputa delle arti», which has not been investigated enough, but which in reality is a dispute on the law and the jurisdictionalization of culture. The affirmation of scientific supremacy and the supremacy of the jurist’s category that accompanied it, still today characterize the age of humanism, an age where the old and the new coexist, without that unnatural opposition of elements on which the constructions of 19th and 20th century historiography rested. Giovanni Battista Caccialupi’s De modo in iure studendi is an outstanding example of this.
Michael Gehler - Im Spannungsfeld zwischen Region, Nation und Europa. Alcide De Gasperi, Südtirol, das Trentino und Österreich (1945-1954)
In 2004, the 50th anniversary of Alcide De Gasperi’s death was marked by numerous ceremonies and conferences. On September 5, 1946, Karl Gruber and Alcide De Gasperi signed the Paris Treaty, which is viewed rather critically in Tyrol and South Tyrol whereas the judgment of Austrian diplomacy and politics is another one. Vienna’s relationship with Rome could not consist solely in the South Tyrol question; there were many reasons for constructing a good relationship with Italy: commerce, security agreements, and anti-Communism. This was manifest in the fine relations between the Österreichische Volkspartei and the Democrazia Cristiana. Repeatedly the Austrian Ambassador in Rome Johannes von Schwarzenberg (1947-1955) mentioned De Gasperis difficulties due to Italy’s precarious internal situation caused by secession tendencies inside the DC and by Communist vote gains. Italy’s dependence on the USA became evident and that little energy was left for South Tyrol. During the Cold War, NATO-Italy played something of a protector role for Austria. Its independence needed to be safeguarded to circumvent a too strong dependence from Germany. De Gasperi was neither an Italian nationalist, as the Austrians often portray him, nor a friend of South Tyrol’s, as Gruber and the early SVP-leadership had hoped: he was a politician devoted to Italian reason of state, a convinced Trentino regionalist and only in his late years a passionate «European». For South Tyrol his 1951 conversion to «Europeism» came too late. The Paris Treaty is not its child, even though decades later they were again and again referred to together.
Klaus Jaitner - Kontinuität oder Diskontinuität päpstlicher. Deutschlandpolitik von 1592 bis 1644?
This brief study of Roman policy-making concerning Germany between 1592 and 1644, clearly shows popes Clement VIII and Gregory XV quite similarly engaged in active policy on the one hand and the less ambitious and more passive actions by Paul V and Urban VIII on the other. Hence a wave-like movement of intervention and non-intervention can be observed, in accordance with the coalitions the popes formed against their direct predecessors in order to increase and control their power and resources. For instance, in 1621 the relations, friends, and clients of the Aldobrandini family were immediately attached to the Ludovisi, and Giovanni Battista Agucchi, cardinal Pietro Aldobrandini’s former major-domo, became a new and most influential secretary of state. Not only did this wave-movement influence the careers of the members of the curia Romana, but it also seems to have shaped the pattern of German papal policy, despite existing constant elements.
Alexander Koller - «… ut infirma confirmaret, disrupta consolidaret, depravata converteret». Grundlinien der Deutschlandpolitik Gregors XIII.
This essay deals with the reshaping of the policies of the Holy See regarding Germany during the pontificate of Gregory XIII (1572-85). To begin with, it discusses the institutional framework at the beginning of the pontificate (notably, the revival of the Congregation for the Affairs of Germany, and the reform of the Roman Collegium Germanicum where young men where educated for their service as priests in the Empire). Secondly, it describes the origins and the chief tasks of the two most significant new nunciatures (Graz, 1580, and Cologne, 1584). The setting-up of new diplomatic representations in the Empire by the Holy See became necessary when the scope for action of the nunciature at the Emperor’s court, which since the beginning of the sixteenth century was responsible for the whole of the Empire, was becoming more and more limited. Not only was the imperial residence located inconveniently at the periphery (moving between Prague and Vienna), but the twofold nature of the rule of the Emperor – as sovereign of the Empire and territorial prince – now had a negative impact. Since the religious division of the Empire was established in the Religious Peace of Augsburg (1555), the Emperor also had to consider the concerns of the Protestant princes and territories. From now on any cooperation with Rome in ecclesiastical and confessional matters was only possible for him in his capacity as territorial prince of Austria, Bohemia, and Hungary.
Cinzia Lorandini - Mercati d’oltralpe. Flussi commerciali tra Italia settentrionale e Mitteleuropa nel secolo XVIII
The entrepreneurial experience of the Salvadori family brings evidence to the pivotal role played by «alt Tirol» in the 18th century in cultural and economic exchange between Italian regions and middle-European ones. When the brothers Valentino and Isidoro Salvadori first settled in Trento in 1664, they were only two minor merchants operating on a local basis. They managed five shops in South Tyrol, but also participated in the transit trade and attended the Bozen fairs, getting in touch with Italian and middle-European operators. Far from specializing in a particular product or activity, the firm manufactured tobacco and silk, traded a variety of goods, and was involved in financial activities. Only in the early 1780s was the decision adopted to concentrate on silk production and trade, as well as on the relative exchange activity. Collecting the produce of many local silk manufacturers, the Salvadori became «Verleger» of international prestige, devoted to providing the textile factories north of the Alps with raw and manufactured silks.
Serena Luzzi - Il «viaggiatore filosofo» e il conte mecenate. Lettere inedite di Carlo Antonio Pilati a Giovanni Vigilio Thun-Hohenstein di Castel Braghèr (1775-1777)
This essay presents the critical edition of the travel letters sent by Carlo Antonio Pilati to count Giovanni Vigilio Thun di Castel Braghèr in 1775/76. This correspondence was among the papers recently found in the private archives of the family Thun-Hohenstein di Castel Braghèr (Coredo, province of Trento) and consists of fifty letters written between 1763 and 1784. They offer new elements for studying the persona and the work of the famous illuminist and also allow drawing a portrait of this protector, a figure up until now completely unknown, but very active in the cultural circles where Pilati’s thinking took shape. The sixteen letters published here offer fundamental information about the Trentino intellectual’s sojourns in southern Italy and in France and, furthermore, they allow an analysis of Carlo Antonio Pilati’s most famous and most translated book, the Voyages dans differens Pays (The Hague 1777).
Alessandro Pastore - Scegliere a chi donare. La selezione dell’assistenza nell’Italia moderna
This essay is based on a preliminary paper given at the conference «Affrontar necessità molte e grandi» (University of Brescia, November 22-23, 2001) and aims to concentrate on some broad topics concerning the politics towards the poor in Early Modern Italy. Based on 16th century legal treatises, the first part of this study offers an analysis of the relationship between gift-giving and almsgiving and assesses the specific role played by the idea of work in relationship to the practically idle life of the poor. The second part of this paper, based on archival material concerning the admission of sick paupers to be segregated inside the Misericordia Hospital of Verona, will allow us to explore the rules of the charitable and medical institutions within a crossed perspective of a society that wants to discipline the sins and discipline the crimes at the same time.
Paolo Pombeni - La storia, le circostanze e le leggi della politica. Qualche considerazione sul saggio di Michael Gehler
This paper discusses Michael Gehler’s essay contending that De Gasperi can simply be judged as an Italian nationalist uninterested in the rights of nations regarding the question of South Tyrol in the framework of post-war reassessment. De Gasperi was, above all, the political leader of a defeated country with enormous problems of settlement due to its position in the international competition: loosing its colonies, challenged by France on the western border, deprived of the eastern territories by Marshal Tito’s Yugoslavia. In this context, De Gasperi could not afford to be generous with the South Tyrolean population, giving back this region to Austria. The Italian Prime Minister would have simply condemned himself to political marginality, dismissing the central position he had won in Italian politics. As a former citizen of the Habsburg Empire, the Trentino politician had more reason to be suspicious of the South Tyrolean claims than to be sympathetic with them, if one remembers the harsh stand the Innsbruck authorities had taken against the autonomy of his Trentino.
Diego Quaglioni - Il fondamento giuridico della potestà ecclesiastica. Spunti dalla canonistica classica
In the theological and juridical middle ages, the discussion involving the foundations of ecclesiastic power focuses on the interpretation of «authoritative texts», and – in particular obviously – holy texts. For a long time theologians and jurists (of canon and civil law) affect scientific writings and notions, while trying to find the «measure» of the relation between secular and spiritual power.
Diego Quaglioni - Le «usure dotali» nella dottrina di diritto comune
The reason for hating the interest in marriage (as well as the marriage of interest) is completely foreign to the medieval juridical mentality. By contrast, the special favor matrimonii, affirmed by theologians and jurists and sanctioned by church legislation, entails that dowry usury, i.e., the effects given with the established dowry, set up but not paid, are an exception with respect to the general prohibition of usury. On the basis of such an exception common law tries to construct a renewed theory of interest.
Helmut Rankl - Das Kirchenregiment der weltlichen Fürsten im 15. und 16. Jahrhundert. Das Beispiel Bayern
In the late middle ages, when national monarchs, territorial leaders, and urban magistrates gained a stronger position vis-à-vis the Catholic Church, the Bavarian dukes, especially the Munich line, became fervent advocates of conciliarism and promoters of reform in the church. Already on the eve of the Reformation they practiced a strong control over their territory’s ecclesiastical institutions, based on common law and a series of privileges granted by the Councils of Constance and Basel as well as the Roman Curia. In the 1520s the dukes began to suppress the Lutheran reformation energetically. With the responsible episcopacy reluctant, initiative in effecting church reform passed on to them. Negotiations with Rome yielded extended privileges, which greatly enhanced the duke’s influence in ecclesiastical matters at the bishops’ expense and supported him as the holder of a supreme, unified state authority. With the creation of the Spiritual Council (1570), which supervised the subjects’ religious life, clerical properties, and revenues, the duchy entered the age of confessionalism. The Concordat of 1583 was the capstone of the ducal church policy; it passed the predominance of control over religion and church, in fact if not in law, into the hands of the Wittelsbach duke, who had become the vanguard of the empire’s Catholic revival and a major political force in Europe.
Roberto Sala - Il controllo statale sull’immigrazione di manodopera italiana nella Germania federale
This article deals with the state control of Italian labor migration to West Germany after World War II. In this respect, the actions of both the German and the Italian governments are taken into consideration, as both countries took measures to control the influx of the Italian workforce to the Federal Republic of Germany. Migration was subject to an institutional framework based on diplomatic negotiations between Germany and Italy. In this context, the Federal Republic and National Socialist Germany proceeded in a similar way regarding the recruitment of Italian labor. In 1955, the recruitment of Italian labor was reintroduced by means of a German-Italian agreement, which served as a model for further recruitment agreements between Germany and other Mediterranean states. However, from 1962 onwards, Italian laborers, in contrast to all other groups of «guestworkers», came to benefit from the liberalization within the European Economic Community. Consequently, state recruitment was superseded by spontaneous migration, which turned out to be beyond the control of both the German and the Italian authorities.
Alois Schmid - Kirche, Territorium und Dynastie in der Geschichtsschreibung des 17. Jahrhunderts
The historical classification of the 17th century can still be considered a crucial problem for cultural history in Germany. By and large this era was seen as a period of transition and – unlike humanism or the enlightenment – it was not considered remarkable. In opposition to this view, recent scholarship has shown that the 17th century – the baroque age – did have its own typical character, which differed strongly from that of the preceding or following époques. The emphasis on a specific confessional culture, the rise of the modern state, the predominant role of dynasty and, in the scientific sphere, the encyclopedic approach as a very special way of explaining the world, all these elements could well be profoundly characteristic of this influential period in German history. The new perception of the 17th century helped to unveil two widespread forms of writing, the literary genres of terra sacra and terra sancta: The terra sacra describes the ecclesiastical history of a region on local terms; the terra sancta stresses its biographical aspects. In combining both perspectives, a new type of historiography emerged. In the Bavaria sancta et pia by Matthäus Rader SJ (1615-1627) this blending of two different types of writing reached its methodological summit. Hence Rader’s work was the most prominent contribution of Bavarian scholarship to historiographical literature in Germany during the 17th century.
Gerrit Walther - Diskrete Bündnispartner. Zum Verhältnis zwischen geistlichen Stiften und Ritterschaft im Zeitalter der Glaubensspaltung
Ecclesiastic states and imperial knights were a characteristic trait of the Holy Roman Empire of the German Nation. Seemingly utterly «mediaeval» in there corporate political structure, they developed into permanent configurations only at the beginning of the early modern period however – in the course of the reformation. They determined and completed one another. Both demonstrated high political stability notwithstanding their remoteness from all principles of modern statehood. The confessional choices of noble members of ecclesiastic territories followed laws of «discretion». Even if knights came to choose a confession different from the one of the catholic duke, they generally accepted and defended the Catholicness of the diocese as a whole, because only in this manner could their autonomy as protestant ecclesiastic lords be preserved.
Dietmar Willoweit - Rechtsgrundlagen der weltlichen Herrschaft geistlicher Fürsten im Mittelalter
Beginning with the Franconian Empire, the kings incorporated the bishops and abbots of the major monasteries into their political system. By their privileges they took them under their protection, excluded the power of the local nobles from the ecclesiastical grounds, and granted jurisdiction to the privileged institutions of the church (immunitatio tuitio). The medieval emperors continued these politics by conferring judicial rights. They also exercised an influence on the nomination of new bishops. After the end of the Investiture Controversy in 1122 (Concordat of Worms), the emperors invested the bishops and abbots, who were now elected according to the rules of Canon Law, with the regalia, i.e. the imperial rights to govern the people in secular matters. Thus, feudal relations between the empire on the one hand, and most bishops and some abbeys on the other gained ground. These clergymen thus became ecclesiastical princes with judicial and political rights alongside of the great dynasties and an important element of the imperial power for many centuries. Furthermore, the ecclesiastical jurisdiction of the bishops also remained efficient in the territories of the secular princes. This led to a number of conflicts regarding the competences of the ecclesiastical courts. These only came to an end with the Lutheran reformation of many secular territories. The clerical states of the empire, however, survived until 1803.
Wolfgang Wüst - Fürstliche Stiftsherrschaft in der Frühmoderne. Ein Vergleich süd- und nordalpiner Verhältnisse in Augsburg, Brixen, Eichstätt, Konstanz und Trient
Long before they were secularized, ecclesiastical lordships found themselves in a crisis of legitimation. As regions under the rule of spiritual lords – bishops, abbots or provosts – they appeared to be superfluities, left over from a lost world. More than any other member of the body politic of the Holy Roman Empire, they have been denounced by historians for their obsolete social structure. Generally, however, historians have neglected to analyze them typologically: Can they, in fact, be regarded as a group of states on their own? If so, was this group homogenous? It is high time to take a closer look. In so doing, I have limited myself to examining five examples north and south of the Alps. If we compare regional forms of episcopal lordship German prefers «Hochstift» rather than «diocese» when speaking about bishoprics as territories –, then it is imperative to ask the right questions. However, comparative studies on the group of ecclesiastical states have failed to note the similarities and differences between conditions north and south of the Alps. Indeed, even until very recently the study of ecclesiastical lordships has been relegated to the outer darkness of historical research, since these states were regarded as relics of the Middle Ages, derided by the Enlightenment as incapable of reform, then secularized and finally forgotten. Even within the bounds of the history of ecclesiastical lordships, one can recognize a certain sympathy for developments in South Germany, although no one bothers to put this to the test by actually comparing South Germany with other regions. However, a mere glance suffices to support the conclusion that episcopal states such as Brixen and Trent contributed to the emerging sense of regional identity. Since, however, the some 300 Italian dioceses – I have not dealt with the papal state – are marked off from the (German-speaking) imperial bishoprics both in size and constitutional development, my investigation has been limited to the Holy Roman Empire of the German Nation and the Imperial church.


Hello friends, welcome to my website, in today’s article you will get to see information about Charles G. D. Roberts Bio, Wife, Height, and Education.
Sir Charles George Douglas Roberts was a Canadian poet and prose writer. Roberts has also been called the “Father of Canadian Poetry” because he served as an inspiration and a source of assistance for other Canadian poets of his time. He was one of the first Canadian authors to be internationally known.
Charles G.D. Roberts Bio, Age and DOB
Now, friends you people see Charles G. D. Roberts Biography details after that we will tell Age and all their other details step by step below.
|Full Name||Charles George Douglas Roberts|
|Date Of Birth||10 January 1860|
|Date of Death||26 November 1943|
|Birth Place||Douglas, New Brunswick, Canada|
|Notable awards||Knighthood (KCMG), FRSC, Lorne Pierce Medal|
Charles G. D. Roberts Education
- Canadian Poet Charles G. D. Roberts was born on 10 January 1860 in Douglas, New Brunswick, Canada. He is a Canadian by nationality. Roberts inspired Bliss CARMAN (his cousin), Archibald LAMPMAN, and D C SCOTT and became a prominent members of the so-called Confederation Poets.
- Between the ages of 14 years, Roberts was raised in the parish of New Brunswick, near Sackville. In 1873-His family moved to Fredericton, from 1874 to 1876 Roberts attended Fredericton Collegiate School, and then in 1879 the University of New Brunswick, earning his B.A. and M.A. in 1881. He published his first articles in The Colonial Farmer at 12 years of age.
Charles G. D. Roberts Family Information, Wife, Relationship
- Talking about Robert’s family, His father’s name was Rev. Roberts, he was a rector of Fredericton and canon of Christ Church Cathedral in New Brunswick. His mother’s name was Emma Wetmore Bliss. Roberts’s brother, Theodore Goodridge Roberts and sister, Elizabeth Roberts MacDonald, also became authors.
- In 1880, Charles G. D. Roberts married Mary Fenety, and they had five children and in 1943 He married his second wife Joan Montgomery
Charles G. D. Roberts career
- From 1879 to 1881 Roberts worked as principal of Chatham High School in Chatham, New Brunswick, and from 1881 to 1883 York Street School in Fredericton.
- Roberts first published poetry in the Canadian language in 1878 and he had placed two poems in the American magazine, Scribner in 1879
- Charles G. D. Roberts published his first book of poetry, Orion and Other Poems in 1880
- The biography by Roberts’s friend Edmund Collins, The Life and Times of Sir John A. Macdonald, was published in 1883 and the book was a success, going through eight printings. It contained a chapter on “Thought and Literature in Canada,”
Charles G. D. Roberts poetrys, fiction and animal stories
- Orion, and Other Poems
- In Divers Tones
- The Book of the Native
- The Book of the Rose
- The Raid from Beauséjour and How the Carter Boys Lifted the Mortgage
- Earth’s Enigmas
- The Forge in the Forest
- The Heart of the Ancient Wood
- The Haunters of the Silences: A Book of Animal Life
- The Vagrant of Time
- The Iceberg and Other Poems
1) How is Charles G. D. Roberts?
Charles G.D. Roberts, in full Sir Charles George Douglas Roberts. He was a Canadian poet and prose writer and has also been called the “Father of Canadian Poetry”
2) Charles G.D. Roberts poems
- An April Adoration
- Cambrai and Marne
- At the Gates of Spring
- All Night the Lone Cicada
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It is a great thing that so much amazing scientific research is being done right now in the world. Those elegant studies that have developed into interesting stories that expand our knowledge of science are a joy to read. These often feature in the "top" journals and may make headlines (hopefully written up within a useful context). There are other hidden gems that may not immediately jump out, but on further reading reveal a crucial piece of information that helps with your own research puzzle, or provides a protocol that allows you to do something you didn't realize was possible. Basically there is a lot of science written and published by an ever increasing number of journals, the trouble is prioritizing what to read!
How to keep abreast of the most exciting research in your field? RSS feeds and pub med/Google scholar searches are fine if you are very specific about what you search for but you still need to make a decision about what terms to look for or which journals to follow. On the first day of my PhD I was given the group's "Journal Watch" list, a many times photocopied sheet of paper with 20 or so journal TOCs and AOPs to check regularly. Email alerts for these journals can be useful but you still have to trawl through the table of contents, that is if the email doesn't get inadvertently junked or skipped over. Review articles and perspectives are brilliant for guiding you towards excellent primary articles, but only if you are looking for at a specific gene, pathway, disease etc.
During my PhD I was very lucky to be able to write with my supervisor as an associate faculty member of the Faculty of 1000 (F1000). For this we wrote short pieces highlighting exciting developments in the field of Leukocyte Activation. This F1000 Prime service is an excellent way to be alerted to articles that are not just published in high impact journals, but those that are having a real impact on researchers post peer-review. Articles are selected by faculty members and rated for their contribution to the field (with a metric value to match), this ensures you can see the best recommended papers easily. A personalised homepage and email alerts can be tailored to your key words. I found this service immensely useful during my PhD and enjoyed writing for F1000 so much that I started this blog, albeit with a focus on open access articles and better explanations for non-scientists.
So I was excited when I saw a netoworking event in London organised by the F1000 to meet with staff and users of the service. There was a lively discussion about reaearch, open access publishing, scientific communication and data metrics. It was during this event that I discovered I could continue my passion for F1000 as a specialist, explaining and promoting their services including F1000 prime, which I was familiar with from use during my PhD, as well as F1000 Posters, F1000 Trials and F1000 Research. So I have once again joined the F1000 community (see the great new badge on the left of my blog), and I am keener than ever to help F1000 grow and to communicate the exciting advances in disseminating research where it matters! I am currently trialling a new Journal club feature of the F1000 website, so expect more about how this goes very soon!


Most of the Quran teachings come from the Bible even though there are fundamental differences between the teachings of Quran and the Bible. The Bible mentions "emissions" in a few places (Leviticus 15:16,18,32; 22:4; Deuteronomy 23:10).
The first 4 books of bible Genesis, Exodus, Leviticus and Numbers were written 450 BCE when Jesus wasn't even born. The word Bible comes from the Latin word biblia which means book. The Bible is definitely older than the quran in everyway. 6 yr. ago. In my book, The Bible , the Qur'an and Science , I have quoted passages from the Qur'an which came from the period prior to the Hijrah ( the Prophet's emigration from Makkah to Madeenah in the year 622) and which allude to the writing of the Qur'an before the Quran is The Bible is a collection of 66 different books. These five books were written by Moses. The main reason why people take the Quran as the first book and not the Bible is because of the time of translation. the word of the lord came to Abraham. A. The Quran was written in the 7th century. The Quran was written about 1,300 years ago. In Islam there is two, the Quran and The Hadith. Log in. Muslims understand the Quran to be knowledge from an omnipotent God. Allah refutes this allegation in the words, The Quran has been revealed by Him Who knows every secret that is in the heavens and the earth.. And yet, Muslims claim that it is the Bible that has been corrupted instead of showing proof that what the Quran claims is true. The quran is an authoritative and reliable source. 5. Isaiah 2:1 The word of the lord that Isaiah the son of Amoz saw. THIS IS INTERESTING: What language do Catholic priests speak? The Bible is true. A Question From Speech Moses Jesus
Matt: The Bible is, my dear friend, 66 separate writings and written over 1600 years and by 40 different people and in 3 different languages and on 3 different continents. The Torah includes the five books, as well as the oral traditions in the Talmud and the Midrash. The Quran was not written until about 600 AD.
History of the Quran is the timeline and origin of the written compilations or manuscripts of the holy book of Islam, based on historical findings.It spans several centuries, and forms an important major part of the early history of Islam.. History of the Quran and the Bible.
Many Christian writers and clergy claim that the Holy Quran is borrowed from the Bible. Kareem: The Quran is the word of God, as revealed word for word by Angel Gabriel, untouched and still in its original form. The Bible both Old and New Testaments and the Quran are wholly different books. The Old Testament section of the Bible was written over many centuries, stretching from 1446 BC (probably earlier) to 400 BC. Second, the Septuagint, a Greek translation of the Hebrew text dated 3rd century BC. It seems that a one "Rashi" aka Rabbi Solomon Bar Issac (eg. These revelations were codified after his death into the document now known as the Quran. As the Quran was being revealed, the Prophet Muhammad made special arrangements to ensure that it was written down. Now, it is true that the Quran does contain similar stories, characters, and themes with the Bible; but overall, the Bible and the Quran do not see eye-to-eye on these Ascension is also the central part of christian creed as also mentioned in box below Book of Acts 1:9, Luke 24:50-51 and Mark 16:19. Which Came First? The Church came into existence ca. Description of the five books of the Torah. The New Testament was written from around 65 to 95 AD (CE). The Christian Bible is made up of the Old Testament and the New Testament. The oldest fossils of dinosaur eggs We have three main Old Testament manuscripts: first the Masoretic text, a Hebrew text dating from about AD 1000. It tells the history of humanity and of the world around him, as well as the history and destiny of all mankind. By 400AD, hundreds of years before Muhammad, the Bible was already widely distributed throughout the known world at that time in multiple languages. 33 A.D. Knowing that versions written in the Hebrew Bible and the Christian New Testament does predate the Quran, Christians reason the Quran as being derived directly or indirectly from the earlier materials. The Old Testament dates to centuries before the time of Christ. Knowing that versions written in the Hebrew Bible and the Christian New Testament predate the Qurans versions, Christians reason the Qurans versions as being derived directly or indirectly from the earlier materials. The Quran dates from the early 7th century, or decades thereafter. Q: Is the quran better than the bible for the Muslims? Genesis 3:8 And they heard the word of the LORD God walking in the garden in the cool of the day. Eggs, generally speaking, existed before chickens did. First, lets get the scientific answer out of the way. | Scott Eric Alt The five books included are Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. Comedy Gaming Food Dance Beauty Animals Sports By contrast, the Bible refutes the Quranin its entirety with a stern warning in its final paragraph that nothing is to be added to or deleted from the Bible: Bible came through forty different people and was completed in the First Century AD and Quran came through one person and was completed in the Seventh Century AD. The Bible was written between 1400 BC & 95 AD. Muslims understand the Qurans versions to be knowledge from an omnipotent God. But the Bible is not 2000 years old.. historical evidence of first Bible is only 1500 years old (old testament). and the tea-seller responded that on the first night of their marriage Islam is a religion concerned with justice and respect. The Hebrew bible was compiled about 2,400 years ago, though some of its constituent parts are much older - some of it probably about 3,000 years old in one form or another. What is oculesics: 206: Similarities between communism and capitalism: 343: What came first the bible or the quran: Actually, for that matter, considering there's a lot of overlap between the Bible and the Quran (including like 80% of the Gospel) and the fact that a pretty large chunk of Muslims are expected to have read the entire Quran, I wouldn't be surprised if the average Muslim is But Hebrew bible ( Torah and Tanakh) predate Jesus. Quora User The Quran and the Bible are both considered holy texts by their respective religions, but they have very different origins and purposes. Bible and Quran partially agree on the topic of Ascension of Jesus and partially disagree. 3:15) to be an extension of the Incarnation and continue both his words and actions (an ambassador of Gods mercy bringing us into contact with the divine). Christ is encountered in Sacred Tradition AND Sacred Scripture because his Catholic Church came first (1 Tim. Perhaps the most critical difference between the Quran and the Bible, writes Qureshi, is that the Quran is the basis of why Muslims believe in Islam (112). There is no doubt that the Bible has been in existence before the Quran. But the Bible is not one single book. Although the Prophet Muhammad himself could neither read nor write, he dictated the verses orally and instructed scribes to mark down the revelation
. Which Came First: Christianity or Judaism. The New Testament books were written from around AD 48 to 100. The Koran (Qurn) was written between AD 610-632. Muhammad, whom Muslims consider to be the final prophet of God, reported his first revelation in 610 ad a revelation he said came from the archangel Gabrieland he continued to report revelations over the last two decades of his life. And lastly the Dead Sea Scrolls from 408-318 BC. What is oculesics: 206: Similarities between communism and capitalism: 343: What came first the bible or the quran: Actually, for that matter, considering there's a lot of overlap between the Bible and the Quran (including like 80% of the Gospel) and the fact that a pretty large chunk of Muslims are expected to have read the entire Quran, I wouldn't be surprised if the average Muslim is It is a library of 66 books written over a period of 1500 years ( approximately ) from 1500 B.C. A : No. The Bible is a library of sacred books, letters, poetry, and prophecy written by over 40 authors over the course of 1000 years. The quran was compiled by Uthman in the year 652 A.D. What sets this book apart is the Christian claim that it contains the inspired word of God. Popular topics. Revelation of the Quran to the Prophet Muhammed (S) 22 December 609 - 8 June 632. Ascension is the departure of Although the Jews brought their manuscripts of the Torah/Talmud out of Ancient Egypt <<


The revised content of the ICAMus session on Florence-born American composer Alberto Bimboni (1882-1960) and his unpublished "All-Indian" Opera, Winona (1915-1918) at the “Intersections/Intersezioni” Conference (Florence, June 1st, 2017), edited by Aloma Bardi, are available for download (PDF) on the ICAMus Website. Articles by Davide Ceriani & Alexandra Monchick, Barbara Boganini, Aloma Bardi, and Gretchen Peters.
PLEASE READ AND DOWNLOAD:
WINONA, "ALL-INDIAN OPERA"
BY FLORENTINE-AMERICAN COMPOSER
ALBERTO BIMBONI (1882-1960)
AND THE ITALIAN CONTRIBUTION TO THE INDIANIST MOVEMENT
IN AMERICAN MUSIC AND CULTURE
EDITED BY ALOMA BARDI
IN OUR IN-DEPTH PREVIEWS SECTION.
(In the photo below) Alberto Bimboni, Winona, Act I, Scene 1. Orchestral Score, pp. 10-11: depiction of the night, the flute call, Chatonska’s arrival on his canoe and his love call. Unpublished. Copy of holograph manuscript. The ICAMus Archive.
FIND OUT MORE
ON ALBERTO BIMBONI'S UNPUBLISHED AMERICAN OPERA, WINONA, AND THE ICAMus SESSION AT THE "INTERSECTIONS/INTERSEZIONI" INTERNATIONAL CONFERENCE IN FLORENCE, KENT STATE UNIVERSITY - FLORENCE PROGRAM, PROFS. FULVIO SANTO ORSITTO & SIMONA WRIGHT, DIRECTORS, JUNE 1ST, 2017,
(In the 2 photos below) Alberto Bimboni, Winona, Act III, Final Scene (Death of Winona): Lullaby. Piano-Vocal Score, pp. 214-215. Unpublished. Copy of holograph manuscript. The ICAMus Archive.
Winona is an unpublished opera (1915-1918) by Florentine-American composer, conductor, and teacher, Alberto Bimboni (Florence 1882 - New York 1960, in the US from 1911). It was performed in the US in 1926 and 1928 to great success and critical acclaim. Since the 1700s, the prominent Bimboni musical family had played an important role both in Italy and in the US, as inventors, composers, conductors, and teachers. A copy of the manuscript score of Winona and the unique Winona-related Scrap Book were donated to the ICAMus Archive in 2014 by a friend of the Bimboni family, Ms. Julia Jacobs of Monticello, NY (1922-2014).
Minneapolis critic and journalist, Perry S. Williams (b. 1886, d. after 1970) was born in Toledo of Welsh descent; he was managing editor of the Evening Telegram (which he founded in 1907); he had a double career in newspaper editing and Republican politics.


The alumni book club will meet at 5:00 PM PT / 8:00 PM ET on October 10th, October 24th, November 7th, and November 28th, 2023 to discuss Ted Steinberg’s Gotham Unbound: The Ecological History of Greater New York, the book choice for the Tri-State Region Alumni.
Winner of the 2015 PROSE Award for US History.
Gotham Unbound: The Ecological History of Greater New York, by Ted Steinberg, recounts the four-century history of how hundreds of square miles of open marshlands became home to six percent of the nation’s population. Ted Steinberg brings a vanished New York back to vivid, rich life. You will see the metropolitan area anew, not just as a dense urban goliath but as an estuary once home to miles of oyster reefs, wolves, whales, and blueberry bogs. That world gave way to an onslaught managed by thousands, from Governor John Montgomerie, who turned water into land, and John Randel, who imposed a grid on Manhattan, to Robert Moses, and Charles Urstadt.
“Steinberg’s volume begins with Henry Hudson’s arrival aboard the Half Moon in 1609 and ends with another transformative event—Hurricane Sandy in 2012.” — The Plain Dealer, Cleveland
Email Britta Culbertson (email@example.com) if you have any questions or need help with registration.


I’ve just received the proofs for my story, ‘Dust’, one of a round dozen collected in the anthology Forbidden Planets
. Others are by Stephen Baxter, Paul Di Filippo, Scott Edelman, Matthew Hughes, Alex Irvine, Jay Lake, Ian McDonald, Michael Moorcock, Alastair Reynolds, Chris Roberson, and Adam Roberts. Edited by Peter Crowther, with an introduction by Ray Bradbury and an afterword by Stephen Baxter, it celebrates the 50th anniversary of the classic movie.
Another story, ‘Winning Peace’, the one I was writing in April, set in the same future history as ‘Dust’, will appear in Gardner Dozois’s and Jonathan Strahan’s The New Space Opera
Back now to reading Cowboy Angels
(for the first time in three years) and making notes for the many tweaks needed to bring it up to speed.


From the Rock to the World: Evolution of African Art
At the culmination of the idea of Africa and art, are the words vibrancy, storytelling, celebration, and expression. Whenever you think of art, you probably think of a nineteenth-century middle-aged man making a painting, or someone sculpting remarkable characters from Biblical times, and that would not be an entirely strange thought. But art in itself carries the hearty heritage of culture, history, and innovation. And these factors are the very nature of the African continent. Someone might even suggest that Africa is not only the cradle of humankind but the birthplace of artistic expression. From the rock art in Namibia to debuting traditional artworks of the Ndebele tribe in Southern Africa on vodka bottles, for the whole world to marvel at. African art has gone through various stages while telling the story of the African people and remains a tool of not only self-expression but a tool of knowledge production. Get ready to go on a journey, not quite from a place to another place, but from a time to another—a time that dates back thousands of years ago…
Art the Storyteller
Africa’s oldest known paintings are small stone plaquettes with paintings of animals on them. Dating back approximately 25 000 years ago, the paintings were excavated in Southern Namibia in 1969, the same year the first spacecraft landed on the moon known as the Apollo 11 (TARA, UNESCO & World Heritage Centre, 2019). The paintings were later given the same name. Rock art was a way of documenting the world as seen and known by African people. From the paintings of cattle to human-like figures holding what looked to be spears, rock art told stories, preserved tradition and created knowledge that would soon be passed down to many generations to come. Today rock art is the adhesive that keeps the knowledge of the world we know now, and the history and heritage of the many generations before us. To the Khoisan people of South Africa, the rock art remains as the foundational knowledge of their culture and history. The San Bushmen also painted on walls (cave walls particularly) to tell stories as far back as 1984 BCE (Brand South Africa, 2017). We can imagine one could recall the tale of a memorable hunt, draw military strategies, or even maps on the walls to faraway lands. Similar art styles were actually present in ancient Egypt too, the difference was that they used hieroglyphics (like symbols and alphabets) whist the San Bushmen did not, though theirs seemed to be on much larger scales. Rock paintings in caves in an art that is engraved at the core of various African societies, regardless of where these societies form within the continent. Rock art is a common language African people quite literate in. As the late president Nelson Mandela said, “Africa’s rock art is the common heritage of all Africans, but it is more than that. It is the common heritage of humanity”.
Not only did African people incorporate rock artwork as part of their way of life, but tribes from West Africa such as the Nok residing a few kilometers away from the Benin Kingdom at that time. Renowned for its artistic sculptural style, Nok culture has attained popularity and fixed space in the history and evolution of African art. These sculptures (like in the image below), also called Terracotta figures, were made from fired clay and were used to reveal the respect and significance held for certain people—such practices were also observable in the Benin Kingdom (Contemporary African Art, 2018). The erection of a statue in a public square was also used to put importance on certain people or events, the creation of terracotta figures in both Nok and Benin cultures was to serve the same purpose, particularly of kings and queens. Valorous characters were born that deserve recognition till today. People like Queen Amina of Zaria, warriors of the Ashanti Kingdom, and great men and women of profound crafts and traditional knowledge, were preserved through verbal or visual art for their courage, leadership, or story. From just hundreds of years ago, we can see how art was used to reveal respect for people, and even till today, recounts history up until many decades ago.
Art the Weapon
Since the 19th century, the nation we now know as South Africa had been on a tangent to one of the most profound events in its history, giving birth to some of the most admirable leaders the continent has ever seen, but also in the history of African art. In the 1980s to the 1990s, resistance art was directed at the white elite’s oppressive exercise of power (SAHA, 2019). At this time, the system of racial segregation was at its peak and so were the detriments to the Africans (and foreigners) in South Africa. Resistance art involving singing, marching, dancing, acting, chanting and so on all rose to the fore, unanimously against an oppressive government. The introduction of protest artwork came through the mobilizing of masses and to speak out against the injustices of the Apartheid regime. The concept of art took on a whole new form that would remain deep in the bones of Southern Africans—even those who didn’t experience the apartheid system. During Apartheid, art became the voice of the voiceless and more importantly brought an oppressed nation of people together. The emergence of a highly celebrated white playwright named Athol Fugard, who is best known for his political plays opposing the oppressing system of Apartheid, Fugard worked intimately with black theatre performers such as John Kani and the late Winston Ntshona (Klaff, 2014). Paving the way for award-winning musical films such as Sarafina by Mbongeni Ngema. Sarafina tells the tale of the mobilization of high school students in the township of Soweto rose above the apartheid system, while Nelson Mandela was imprisoned on Robben Island (IMDb, 2019). To this day, there are certain songs that you would play into a crowd of South Africans, certain photographs you would show, certain plays you would dramatize, poems you would recite, and shows you would release that would stir up the soul, invoke emotion, trigger action. If you ever find yourself in the streets of the Mother City also known as Cape Town, be sure to check out the Athol Fugard theatre for a dose of authentic storytelling.
Art the Advocate
The boundless nature of art is truly seen through South African artist, Dr. Esther Mahlangu. Mahlangu collaborated with luxury vodka brand Belvedere by designing a special bottle for the #Makethedifference Campaign. Which is a campaign in support of the fight against HIV/AIDS (Pawson, 2016). The bottle is covered in a traditional tribal print of the Ndebele tribe found in Southern Africa. This takes the idea of art within the continent to a new level of breaking boundaries and while serving the African people. 50% of the profits made from each bottle sold was donated to the Global Fund to fight HIV/AIDS in Africa. It is remarkable what African has meant to the continue and the role it continues to play in the growth of the continent. Whether it be listening to the striking sounds of Burna Boy or enjoying a play that tells the story of African people on a world stage, one thing is undeniable. The art is within us and should remain with us.
Art the Celebrator
We have seen how art functioned to interact with surroundings, tell stories, recount history, reveal respect, resist injustice or even itself across many of the times and locations on this side of the globe, and art is working out its purpose on the African continent now. Regardless of colonial influence, African art still remains a powerful medium in the world. What we advocate for is the consideration and integration of art in our various societies. Art should be a subject in schools because that would improve the quality of our citizens as it aids learning! Art should be a legitimate career choice parents should encourage their offspring to pursue. What good would the continent be if we only had bankers, lawyers, and engineers? Art, in all its forms including culinary, martial, visual, performing, literary, should be promoted by governments for the development of a good and healthy society—many art forms are therapeutic, charitable to the mind and body. Interestingly, many works of the ancient African dexterities, possessing ample culture and rich portions of skill, story, and history, lie on display in European museums…but that’s another story.
Let art be our way of celebrating who we are and saying to the world, “we have arrived”. For centuries, our story has been told by others and certainly not for us. Let us take the reins and celebrate the energy, culture, history- whether good or bad and take delight in progress made. In the words of Marcus Garvey, “a people without the knowledge of their past history, origin, and culture are like a tree without roots”. Let art be the gravity that keeps us rooted in OUR way of doing things and let art be the foundation of our innovations.
- TARA, UNESCO, & World Heritage Centre. (2019). Apollo 11 Cave (Namibia) c. 30,000 BP. Retrieved 16 December 2019, from https://africanrockart.org/rock-art-in-africa/periods-and-styles/apollo-11-cave-namibia/
- Klaff, J. (2014). Acting against apartheid: the enduring power of South African protest theatre | Jack Klaff. Retrieved 16 December 2019, from https://www.theguardian.com/stage/2014/jun/20/acting-against-apartheid-south-african-protest-theatre
- SAHA. (2019). SAHA – South African History Archive – A State of Emergency. Retrieved 16 December 2019, from http://www.saha.org.za/ecc25/ecc_under_a_state_of_emergency.htm
- Pawson, H. (2016). Make the difference: Belvedere continues fight against HIV/AIDS – The Moodie Davitt Report. Retrieved 16 December 2019, from https://www.moodiedavittreport.com/make-the-difference-belvedere-continues-fight-against-hivaids/
- Brand South Africa. (2017). South African art. Retrieved 16 December 2019, from https://www.brandsouthafrica.com/south-africa-fast-facts/arts-facts/overview-history-south-african-art
- Contemporary African Art. (2018). African art history. Retrieved 16 December 2019, from https://www.contemporary-african-art.com/african-art-history.html
- IMDb. (2019). Sarafina! (1992) – IMDb. Retrieved 16 December 2019, from https://www.imdb.com/title/tt0105316/


Self published book
Please, be patient, since it takes a few seconds to load embeded book from Blurb
Conceptual book project CONNECTED that questions our conscious perception of scale when all the elements of it’s indication are removed.
Buy this book on Blurb :) Simply click on the ‘cart‘ icon at the bottom right of the slideshow.
Title of publication: CONNECTED
Design: Eugenijus Barzdžius
Paintings: Eugenijus Barzdžius
Publication date: 2012
Place of publication: Newport, U.K.
Edition size: Print on demand
Format: Hardcover, Imagewrap
Size: 25×20 cm
Number of pages: 36
Type of printing: blurb
Type of paper: Premium Paper, matte finish


Copy of a painting
In terms of art a copy is an exact reproduction of the original art work, which aims at revealing author’s compositional techniques, his artistic style and technique. Similar aims also pursues an author’s copy of a popular or admirable work of art with artistic style and technique of the author presented by default.
Most of the paintings except studies and sketches are available to be ordered as an author's copy in our ArtEgo online-gallery. For more detailed information about ordering an author’s copy please visit the corresponding page.
You can buy a painting or order an author’s copy by such artists:
The full list of painters you can find in our catalogue.
The term “antiquity” refers to art of Ancient Greece and Ancient Rome, that are quite similar by their form but have remarkably different objectives and ideas. The ideal of a free citizen was embodied in the art of Ancient Greece, so sculptures of warriors and Olympics winners served to bring up the rising generation through the outstanding examples. At the same time, the art of Ancient Rome implied on wealth, luxury, prestige, and a high social status of its owner. The goal of bringing up the rising generation through the example of a free citizen was not predominated in the art of Ancient Rome. Copying ancient Greek statues was widespread in Ancient Rome, when Greece was occupied and was turned into the colonial province of the Roman Empire, the Romans adopted only those things, that fit the Romans’ mold. The research has shown that Roman artists copied only those artifacts, that were executed in Classical and Hellenistic periods. Thanks to that widespread phenomenon of copying ancient Greek artifacts now we can have an idea of many original ancient Greek sculptures that were lost back in ancient times.
The system of copying in the Hermitage
The system of copying in the Hermitage The collection of the Hermitage museum allowed not only the nobility but also artists to get acquainted with West European culture and its highest achievements in the spiritual realm. By the Academy of Arts’ pedagogical system copying was considered to be an important part of art education.
We know about copies of the famous West European paintings from the records of the Saint-Petersburg Academy of Arts’ Factorage. The Factorege sold copies as well as students’ paintings. Some of the copies served as learning objects in private clubs or for amateur artists. Copies were also used to decorate art galleries in noble landowners’ estates, where they were not usually distinguished from original paintings. Such practice resulted in confusion between copies and original paintings when the inventory of the noble’s collections was examined during the sales.
At the beginning of the 19th century the Hermitage made a special list of artists and art lovers who were allowed to visit the gallery and to make copies of original paintings. This list included the names of copiers, among those were students and graduates of the Academy of Arts, serf artists by their lords’ permission and amateur artists. The most popular paintings to copy were of religious subject matter. The paintings of The Bolognese and the Roman Schools of Painting were also of great interest. A lot of copies were created from the original paintings by Guercino, Francesco Albani, Sassoferrato, Carlo Maratti and many others.
Copies in museums and their purposes
Museums have always collected copies of original paintings in order to protect the latter from damage. The Louvre Museum (Paris, France) keeps a few copies of the world famous “La Gioconda” by Leonardo da Vinci. The number of “La Gioconda” copies in Italy and in the USA is so enormous, that it would be enough for a special gallery.
The copy of “The Last Supper“ fresco in oil paints by da Vinci is carefully kept by the Hermitage, because the copy of the prominent fresco preserved the composition and colors of the original, which now is in a very sad condition.


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KOKOMO, Ind. — About a dozen area preschoolers will learn literacy skills with comic books written especially for them by Indiana University Kokomo students.
Students in Kristen Snoddy’s children’s literature class applied the concepts they learned about what makes a good children’s story by authoring their own comic books, to give to children at Bona Vista. Those books include a parents’ guide about reading with children, contributed by Vanessa Costello-Harris’s child development class.
It’s a perfect collaboration,” said Snoddy, senior lecturer in English. “By writing a book, they were able to see in a more concrete way the concepts that make a good story and apply them in their own work. The child development aspect gave them insight into how adults can share these stories with the children and how to make the stories more engaging.”
Costello-Harris, assistant professor of psychology, led her students in creating comics illustrating topics in child development to show parents how those concepts will help them engage their children in reading.
Distilling child development concepts to a format easily understandable by someone who hasn’t studied psychology is a valuable learning experience.
In order to write these comics, they had to do some research, to be able to put it into words appropriate to the audience,” Costello-Harris said.
The IU Kokomo authors had some background information on the child who would receive the book, including what the child wanted the main character’s name to be and the general topic he or she desired.
The students created their books on the Pixton comic and storyboard creator, and Snoddy used an IU Applied Learning Grant to have them printed and bound for delivery in early 2019.
Samantha Stewart, Frankfort, and Ashlee Eberhardt, from Noblesville, collaborated to write a comic for a girl named Elise, who likes horses.
We got so invested into writing the book because we knew it was going to a specific child,” said Eberhardt. “It warms my heart to know we are making an impact on this child by writing a book for her.”
Learning about child development and applying what they’ve learned about children’s literature to their own book created a learning experience they won’t forget, Stewart said.
It helped us understand what words to use, and in developing our child characters,” she said.
Angela Bailiff, from Greentown, wrote her book about a field trip to a farm for a boy named Josiah — and included a scene with a boy who tries to climb a fence to get close to a donkey, and earns a warning about not approaching strange animals without permission.
It gives a teaching moment, without being preachy,” she said. “It also gives a lesson about where food comes from, which isn’t something people commonly see in their everyday lives anymore.”
She hopes to implement this project in her own classroom when she is a high school English teacher.
In Costello-Harris’s class, Kelsie Silver said creating comics allowed her to break complex topics down to make them easier to understand.
I had to do more in-depth research, to make a visual representation,” she said. “It helped me better understand and remember the materials, when I wrote it in a way someone not familiar to the topic would understand.”
Indiana University Kokomo serves north central Indiana.


Laura Amy Schlitz estimated Net Worth, Biography, Age, Height, Dating, Relationship Records, Salary, Income, Cars, Lifestyles & many more details have been updated below. Let's check, How Rich is Laura Amy Schlitz in 2019-2020? Scroll below and check more details information about Current Net worth as well as Monthly/Year Salary, Expense, Income Reports!
Laura Amy Schlitz was born in Maryland on May 28, 1955. Newbery Medal-winning children’s author. Her best-known works include Splendors and Glooms, Good Masters! Sweet Ladies! Voices from a Medieval Village, and A Drowned Maiden’s Hair: A Melodrama. Her contemporary, fellow American children’s author Dan Gutman, became famous for his Baseball Card Adventures series. She worked as both a storyteller and librarian at a private school located in Brooklandville, Maryland.
On CELEBS TREND NOW, She is one of the successful Children's Author. She has ranked on the list of those famous people who were born on May 28, 1955. She is one of the Richest Children's Author who was born in Maryland. She also has a position among the list of Most popular Children's Author. Laura Amy Schlitz is 1 of the famous people in our database with the age of 64 years old.
|Age||64 years old|
|Birth Date||May 28, 1955|
Laura Amy Schlitz Net Worth
Laura Amy Schlitz estimated Net Worth, Salary, Income, Cars, Lifestyles & many more details have been updated below. Let's check, How Rich is Laura Amy Schlitz in 2019-2020?
According to Wikipedia, Forbes, IMDb & Various Online resources, famous Children's Author Laura Amy Schlitz's net worth is $1-5 Million at the age of 64 years old. She earned the money being a professional Children's Author. She is from Maryland.
Laura Amy Schlitz's Net Worth:
|Estimated Net Worth in 2020||Under Review|
|Previous Year's Net Worth (2019)||Under Review|
|Annual Salary||Under Review.|
|Income Source||Primary Income source Children's Author (profession).|
|Net Worth Verification Status||Not Verified|
Age, Height & Body MeasurementsLaura Amy Schlitz current age 64 years old. Laura Amy Schlitz's height Unknown & weight Not Available right. Full body measurements, dress & shoe size will be updated soon.
Who is Laura Amy Schlitz Dating?
Laura Amy Schlitz keeps his personal and love life private. Check back often as we will continue to update this page with new relationship details. Let’s take a look at Laura Amy Schlitz past relationships, ex-girlfriends and previous hookups. Laura Amy Schlitz prefers not to tell the details of marital status & divorce.
Dating is to describe a stage in a person's life when he or she is actively pursuing romantic relationships with different people. If two unmarried celebrities are seen in public together, they are often described as "dating" which means they were seen in public together, and it is not clear whether they are merely friends, exploring a more intimate relationship, or are romantically involved.
Facts About Laura Amy Schlitz
- Laura Amy Schlitz's age 64 years old.
- Birthday May 28, 1955.
- Birth Sign Gemini.
- She wrote A Gypsy at Almack’s, a romance novel, under the pen name of Chloe Cheshire.


Kevin Stevens is the author of ten books, including the best-selling The Cops Are Robbers, which was made into an NBC Movie of the Week starring Ed Asner. His novels include The Rizzoli Contract and Song for Katya, published with Simon & Schuster UK, and Reach the Shining River, published by Betimes Books. His YA novel A Lonely Note was a 2018 IBBY Honour List winner, and his books for children include The Powers, a Dublin UNESCO City of Literature Citywide Reading selection in 2014. Kevin has also written for the Irish Times, the Journal of Music in Ireland, and the Dublin Review of Books. He divides his time between Dublin, Ireland, and Cambridge, Massachusetts.


Perhaps the definitive catalog for streetwear aficionados, ALL GONE makes its annual mission to document the past year in urban culture. Each year, ALL GONE documents the most sought-after streetwear items in an attractive, limited-edition package. Covering everything from sneakers and objects, to art and clothing, the annual publication has become something of a bible for urban culture aficionados and newcomers alike. As always, the limited-edition hardcover contains the work of some of the world’s most respected photographers and substantial contributions from industry heavyweights. A must-have for street culture enthusiasts.
No products found in this collection


Franz Gertsch. 1950 and 1960: Sketches and drawings relating to "Tristan Bärmann"
An exhibition curated by Rainer Michael Mason in the museum's cabinet with ball point pen sketches and pen and ink drawings relating to the artist book "Tristan Bärmann" (1962). The exhibition with loans from the private collection of Franz Gertsch and Maria Gertsch-Meer includes 46 works on paper and the artist book.
The selection of drawings by Franz Gertsch shown here encompasses two very different groups documenting the artistic approach of a young man, but his styleat the age of twenty and then at thirtyis still developing and pursues different objectives.
The small suite of quick sketches drawn with a blue ball point pen on the pages of a small pocket-sized sketchbook date from Franz Gertsch’s second stay in Paris when he, just released from the military, traveled to the Seine in the spring of 1950. With gentle and vibrating gestures of the wrist he recorded the summary indications of memory drawings. The first two sketchbook pages lead us to the two adult figures from Leonardo da Vinci’s renowned (and famously interpreted by Sigmund Freud) painting, “The Virgin and Child with St. Anne (1508–1510) in the Louvre. After looking down a path past a tree, Franz Gertsch also outlined, perhaps somewhat surreptitiously but persistentlyin the tree-lines park streets?the silhouette of a Latvian girlfriend whom he invited to an outing to Fontainebleau (the Palace of Fontainebleau was built by King Francis I, the one-time owner of Leonardo’s oil painting now located in the Louvre).
A word must be said about the writing instrument employed by Gertsch, the ball point pen. We owe its technical development to László József Biró (1899–1985), an Argentinean from Hungary who applied for the patent in 1944: the British designation “biro still refers to him. The first model was sold by the Reynolds Company in New York in October 1945. This pen was first marketed in France in the early nineteen fifties. The French patent for the “Bic Cristal goes back to 1950. Franz Gertsch was therefore one of the very first artists to make use of the ball point pen.
The other suite of drawings, executed in pen and ink, can be dated to 1960. At that time, Franz Gertsch was preparing the prints for the last of his four artist’s books, “Tristan Bärmann, which was printed in Burgdorf in 1962 (the first book, “This und Weit, was published in September 1950).
Franz Gertsch worked on “Tristan Bärmann while he was separating from his first wife. It is a fairy tale in twenty quarto format woodcuts with a narrative reminiscent of a venerable chronicle that the artist himself meticulously modeled after ancient Chinese literature (Franz Gertsch was then also reading the German Romantics). Because the image very naturally seemed “just as important as the text, he made numerous preliminary studies. Those which were to be cut in wood are marked in the exhibition with a black pointer.
These “briskly drawn works unfold intense features and distinctive black strokes that simultaneously recall from afar the Chinese paintings with which Franz Gertsch regularly occupied himself. They feature a type of expressionism, if not even a somewhat wild coarseness which is somewhat surprising, even though the artist was unfamiliar with German expressionist prints at that time. Transferred to pear wood, these drawings would experience a permutation and refinement to a certain extent while being cut. “You cannot cut a line, people told Franz Gertsch at that time who then pointed to the linear woodcuts of Aristide Maillol’s “Daphnis et Chloé (1937).
The portrayals address all sorts of occurrences: a thatched-roof house between trees, encounters at the fountain and around the table, seascapes, the inner worlds of the library and going to sleep, the affectionate embraces of a couple and, naturally, the appearance of the bear…
(text: Rainer Michael Mason)


Continue Reading Acute Effects of Progressive Sled Loading on Resisted Sprint Performance and Kinematics
Infographics relating to sports science topics.
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Q. Do you have the textbooks I need for my classes in the Library?
The Library typically does not add texbooks to its collections. Your instructor, at his or her discretion, may place a copy on course reserve. If this is the case, print copies will be shelved on the 2nd floor in the LINK behind the service desk. Most physical copies have a check out period of two hours at a time. Links to electronic copies will be posted to the applicable course in Moodle. To locate items placed on reserve, search the Library's Course Reserve Manager by title, course, or instructor.


It’s been almost a year since I mentioned I wanted to read Elaine Mercado’s true account of her haunting documented in her book “Grave’s End.” Well, I finally did it. I finished the book last night. See, last week I finished reading Stolen Life by Jaycee Dugard. I was going to my cousin’s wedding this past weekend, which was a 5.5 hour drive…so I knew I needed something else to read on the ride. Not having time to order a new book online or stop at a bookstore, I (gasp!) went to my local library!
I had a list of books I wanted to read…the only one they had was “Grave’s End,” but I was still ecstatic because that’s the one I wanted the most. It only took me 4 days to finish it, which is very good considering I’m usually too busy to finish a book so fast. I can’t even remember the last time I finished a book in that amount of time…it’s been awhile. But this book was one of those that crosses your mind throughout your day and you get excited, thinking “Ohmygod, I cannot WAIT until later tonight when I can curl up on the couch and read more of my book.”
If you love nonfiction, supernatural stories (who doesn’t?…Or at least, who reading this doesn’t?) you have got to read this book. It is one of the most honest and scary accounts I’ve ever read. I have such a respect for the author, Elaine Mercado, who still lives in the house to this day! I wish there were more stories out there and published just like this.


Archive | December 2009
About 16,000 words have succumbed to pressures of the Internet age and lost their hyphens in a new edition of the Shorter Oxford English Dictionary… “People are not confident about using hyphens anymore, they’re not really sure what they are for,” said Angus Stevenson, editor of the Shorter OED, the sixth edition of which was published this week.
This is a real article, not something from the Onion – read the full text here:
“For the longest time I wondered why it took me so long to get around to reading certain books in my personal library. Last month I hit upon the answer… I realized that what all the unread books on my shelves had in common is that they were ugly. Really ugly.”
Joe Queenan in the New York Times Book Review, December 6, 2009 – read the full article here:


Too much book.
In the process
- A Heartbreaking Work of Staggering Genius, by Dave Eggers
- Catching Fire, by Suzanne Collins
- Maus, by Art Spiegelman
- A Concise History of Britain, by W. A. Speck
- The Elements of Style, by Williams Strunk, Jr. and E. B. White
- Cloud Atlas, by David Mitchell
- Mockingjay, by Suzanne Collins
- This is Where I Leave You, by Jonathan Tropper
This text post is brought to you by the Brooklyn Public Library, where I get overexcited and overambitious.


Happy Birthday to William S. Burroughs — American novelist, short story writer, satirist, essayist, painter, and spoken word performer.
In the future, everyone will be poor except the rich
In the future, everyone will have guns except the poor
In the future, everyone will be the color of cafe-au-lait
In the future, everyone will be beautiful
In the future, everyone will be obese
In the future, everyone will think they’re smart
In the future, everyone will be stupid
In the future, everyone will be happy
In the future, everyone will be angry
In the future, everyone will be sad
I have an update on that poem I was looking for.
I finally found a single reference to this poem, through Google Books, in The Columbia Granger’s guide to poetry anthologies, a book which is itself a listing and review of other books. The poem is called “Where the Neuter Computer Goes Click”, and it was contained in the anthology Of quarks, quasars, and other quirks: Quizzical poems for the supersonic age, edited by Sara Westbrook Brewton, John Edmund Brewton, and Quentin Blake, published in 1977. That’s not where I encountered it: as I mentioned, I read it in a literature textbook.
The anthology is out of print, but used copies are really cheap, so I went ahead and bought one.
When I was a pre-teen in the mid-1970s (I must have been nine or ten), the textbook for my English class had some great short stories, such as Harrison Bergeron and Who Can Replace A Man? One of the poems in it that still sticks with me was called The Neuter Computer. “The Neuter Computer says ‘tick’ / The Neuter Computer says ‘click’ / …”.
I have looked for that poem since, but have never found it — or any mention of it, anywhere. Even the mighty Google shrugs its shoulders at my query. Am I the only one who remembers this poem?


The Visualisation Toolkit (VTK) is a library for displaying 3D data. MayaVi is a Python interface to the toolkit, which provides an easy-to-use GUI as well as additional filters and visualisation modules.
You can open this in MayaVi (mayavi -d cubefile.vtk) and select the isosurface module to view the isosurface. Alternatively (although perhaps less usefully) you can visualise the volume data itself by selecting first the StructuredPointsProbe filter, and then the Volume module.
Note: VTK itself already has a Gaussian Cube Reader, but this does not read the volume data, only the atom info (or so it seems).
Things to do: use the MayaVi/Python example on the MayaVi web page to create a StructuredPoints object directly. Maybe consider also using the Gaussian Cube Reader to draw the molecule at the same time?


The Confessions of Georgia Nicolson is a popular chick lit series for teenage girls, written by Louise Rennison. It is the diary of a teenage girl, Georgia, as she complains about school, is attracted to good-looking boys and is frustrated with the strangeness of the rest of her family (consisting of her mother, father, younger sister Libby and her crazy cats, Angus and Gordy).
The first novel in the series, Angus, Thongs and Full-Frontal Snogging, describes her as a fourteen-year old girl without, but seeking, a boyfriend in her English community. As the series progresses, she begins to have more potential boyfriends, ending up with three regular contenders for the job, nicknamed the Sex God, the Italian Stallion and Dave the Laugh. In the latest installment 'Stop in the name of pants!', she has chosen which boy she wishes to date, but still has trouble with her feelings for others. In this confusion, readers hope to find a resolution to this conflict in future novels in the series. The tenth and final book in the series is set to be released 25th June 2009 in hard back cover.]
There is some debate about where the books are set. In the second book, they mention catching a bus to Deansgate, which is an area of Manchester in the North West of England, and which features an all boys and an all girls high school situated across the road from each other (Manchester High School for Girls and Manchester Grammar School). However, other signals point to the books being set in Brighton on Englands South coast, such as the fact they always meet by the clock tower and that they regularly go to Churchill Square, a popular shopping center in Brighton, and this is where Louise Rennison currently lives. Georgia and her friends also go camping in Ramsgate, which is in the South East of England, and, when Georgia is coming back from a holiday in Scotland, she talks about 'nodding off for the whole of the Midlands'.
Georgia's age is generally unspecified. In Angus, Thongs and Full-Frontal Snogging it is mentioned that she is 13/14. One can pinpoint her to about 16 years old in the latest book. In Knocked Out by My Nunga-Nungas (the third book in the series) she mentions that she is fifteen.
- In the 5th book, '... and that's when it fell off in my hand.' Georgia mentions that she is sixteen.
- Angus, Thongs and Full-Frontal Snogging
- It's OK, I'm wearing really big knickers - (On the Bright Side, I'm Now the Girlfriend of a Sex God in the US)
- Knocked Out by My Nunga-Nungas
- Dancing in my Nuddy-Pants
- ...and that's when it fell off my hand - (Away Laughing on a Fast Camel in the US)
- ...and then he ate my boy entrancers (May 2005)
- Startled By His Furry Shorts
- Luuurve is a Many Trousered Thing - (Love is a Many Trousered Thing in the US) (July 2007)
- Stop in the Name of Pants! (July 2008)
- Are These My Basoomas I See Before Me? (June 2009)


Sex discriminations made on the basis of ambiguous visual cues can be affected by the presence of an olfactory cue
© Hacker et al.; licensee BioMed Central Ltd. 2013
Received: 24 April 2012
Accepted: 31 May 2013
Published: 19 June 2013
Open Peer Review reports
Pre-publication versions of this article and author comments to reviewers are available by contacting firstname.lastname@example.org.
|24 Apr 2012||Submitted||Original manuscript|
|27 Apr 2012||Author responded||Author comments - Graeme Hacker|
|Resubmission - Version 2|
|27 Apr 2012||Submitted||Manuscript version 2|
|17 Jul 2012||Reviewed||Reviewer Report - Michael Baum|
|31 Jul 2012||Reviewed||Reviewer Report - Craig Roberts|
|12 Sep 2012||Author responded||Author comments - Graeme Hacker|
|Resubmission - Version 3|
|12 Sep 2012||Submitted||Manuscript version 3|
|12 Sep 2012||Reviewed||Reviewer Report - Michael Baum|
|26 Sep 2012||Reviewed||Reviewer Report - Craig Roberts|
|2 Feb 2013||Author responded||Author comments - Graeme Hacker|
|Resubmission - Version 4|
|2 Feb 2013||Submitted||Manuscript version 4|
|31 May 2013||Editorially accepted|
|19 Jun 2013||Article published||10.1186/2050-7283-1-10|
How does Open Peer Review work?
Open peer review is a system where authors know who the reviewers are, and the reviewers know who the authors are. If the manuscript is accepted, the named reviewer reports are published alongside the article. Pre-publication versions of the article and author comments to reviewers are available by contacting email@example.com. All previous versions of the manuscript and all author responses to the reviewers are also available.
You can find further information about the peer review system here.


I recently watched the videos about Aperture 1.5 on Apple's website and I noticed a feature, which would improve iTunes a lot. I would really like to have the same library management options in iTunes, that are available in Aperture 1.5.
In Aperture's first release the library management was really bad, but Apple learned from the users' feedback and improved Aperture. The point is, that I don't want iTunes to manage my music library, because my music is splitted over several volumes. That's possible, but moving files around on my volumes is a real pain in the ass, because there are only two solutions to inform iTunes of the changes:
- Relink every moved file by hand in the library.
- Remove the moved files from the library and re-add them from their new location.
The second aproach is much easier, if your are dealing with a high number of files, but there is one pitfall: you loose the metadata attached to your files (your rating, play counter, etc).
In Aperture 1.5 there is an option to relink a tree of files with only a single mouse-click (watch the video) - and that's exactly what I want for my iTunes library.


RIACT is anchored in the project Research in the Arts, which ten years ago I decided to “take in hand” with Professor Fernando Rosa Dias (a friend and colleague at FBAUL), strongly driven to a field of practice and artistic inquiry that, in our country, had by then begun to emerge in the spirit of artists and researchers in the art field, namely those closest to the sphere of academia and higher artistic education, as is the case of the Lisbon Univesity School of Fine Arts (Faculdade de Belas-Artes da Universidade de Lisboa).
The increasing interest in Research in the Arts also resulted from the dialogues maintained with Juan Carlos Ramos Guadix, artist and professor at the Faculty of Fine Arts in Granada, Spain, who was already critically involved with the issue of Artistic Research at the time. We must, therefore, make reference to the co-editions in which both Professors were involved as well as to the co-editions involving invited experts from other research departments, namely Pierre Baumann, in France, and Alys Longley, in New Zealand (references marked with an asterisk).
- José Quaresma, (coord.), Investigação em Artes. Autenticidade, Polimatia e Dissimulação, Lisboa, AAP, 2019.
- José Quaresma, (coord.), Investigação em Artes. A Necessidade das Ideias Artísticas, Lisboa, AAP, 2018.
- * José Quaresma; Alys Longley; Pierre Baumann (coords.), Research in the Arts. Between Serendipity and Sustainability, Lisboa, AAP, University of Aukland, Université de Bordeaux, 2017.
- * José Quaresma; Alys Longley; Fernando Rosa Dias (coords), Research in the Arts and Absurdity. Informal Methods and Institutionalization of the Conflict, Lisboa, University of Aukland / ESTC, 2016.
- * José Quaresma; Alys Longley; Fernando Rosa Dias (coords), Research in the Arts. Irony, Critique and the Assimilation of the Methods. Lisboa, University of Aukland / ESTC, 2015.
- * José Quaresma; Fernando Rosa Dias (coords), Research in the Arts. The Oscillation of the Methods, Lisboa, Centro de Filosofia da FLUL, 2014.
- José Quaresma, Representação. Fonte Inesgotável de Polémica e Práxis. Transversalidade na Investigação em Artes, Dramaturgia, Filosofia e Direito, Lisboa, CIEBA / CF da UL / LESA, 2013.
- José Quaresma, (coord), Analogia e Mediação. Transversalidade na Investigação em Arte, Filosofia e Ciências, Lisboa, CIEBA / CF da UL, 2012.
- * José Quaresma; Fernando Rosa Dias; Juan Carlos Guadix (coords), Investigação em Arte e Design.
- Fendas no Método e na Criação, Vol II, Lisboa, CIEBA-FBAUL, 2011.
- * José Quaresma; Fernando Rosa Dias; Juan Carlos Guadix (coords), Investigação em Arte. Uma Floresta, Muitos Caminhos, Vol. I, Lisboa, CIEBA-FBAUL, 2010.
Description of RIACT
RIACT — Revista de Investigação Artística, Criação, e Tecnologia (Journal of Artistic Research, Creation and Technology) — is a publication dedicated to Artistic Research, Artistic Projects and Technological issues edited by FBAUL (Lisbon University School of Fine Arts). The Journal is exclusively digital, operating in open access, connecting with existing platforms for this purpose.
RIACT charges a symbolic fee for the submission of artistic research articles or artistic projects due to the required translation (and only beacuse of this reason) of some parts of the Journal like the “Editorials”, the Introductions”, the “Thematic Issues” and “Call for Papers”.
RIACT does not charge the process for the International Lectures (performed by the essaysts or artists) and Certificates that follows the acceptaion of the submittred projects for each number of the Journal. The authors of the admitted papers and projects are invited to lecture in International meetings that are organized twice a year.
RIACT is a thematic Journal launching bi-annual “calls for papers” with specific themes and is meant to integrate several practical and theoretical research manifestations across different artistic expressions. The Journal is prepared for the publication of texts and the edition of artistic projects submitted to a Scientific Committee. RIACT does a regular double-blind “peer reviewing” by a group of thirty four experts from many European and extra-European institutions.
The Journal is multilingual and it welcomes texts and projects in Portuguese, English, French, and Spanish. All the paper’s abstracts are presented in English as the second language, as well as sections of the Journal such as the “Editorial”, the “Introduction”, the “Meta-article”, the “Conditions for Paper’s submission” and the “Call for papers”.


Lady Mary is one of those intrepid travelers whose primary motivating force is her curiosity. Her letters are written to close friends and therefore any diplomatic assignations are missing. Instead, Lady Mary, traveling from London to Constantinople in 1717 offers us an honest and often humorous view of the courts of several European countries as well as her heartfelt appreciation for the Muslim women she encounters in Constantinople. Her position as the wife of the British ambassador to the Ottoman Empire gives her the opportunity to see not only the hovels of the poor as she passes by, but also the privileges of the ruling classes. Her judgments are visceral. Her willingness to meet the culture of the mid east with an open mind presents a view which is absolutely the opposite of what her male counterparts sent back to London. I love this woman. I love her letters. I love traveling with her. You will, too.
Try Lady Mary's commentary. I promise surprises, laughter, an occasional giggle and at the very least a sense of what it means to travel without insisting that the world be a mirror of the home country.
Lady Mary is my favorite travel writer. However can that be? I am a modern woman who follows the travel adventurers of women like Robyn Davidson, whose first travel book, Tracks, is today an excellent little Aussie film. I also love Kira Salak's discovery of her own limits in Four Corners, a trek through the highlands of Papua New Guinea.
However, Lady Mary's sense of humor, somewhat reminiscent of another intrepid British traveling woman, Mary Kingsley in Travels in West Africa, is what captures this reader as one surreptitiously follows the uneven tracks that some call roads and looks forward to doors opening upon scenes that only women can see since foreign men are not allowed in the soiree of The Otttoman Empire.
If you are looking for a thoroughly modern and always entertaining set of judgments about the courts of seventeenth century Europe and Eurasia, spend a few moments with Lady Mary Wortley Montague and like her once dear friend, Alexander Pope, you will be entertained.


••• The Big Brother's, oops, i mean Apple's Gazette ••• A Sophisticated Periodical with Panache and a Sense of Humor
We haven’t really heard much about Harriet Tubman, the abolitionist soon to grace the 20 Dollar bill, replacing Andrew Jackson, when i grew up. She suddenly came out of nowhere only in recent years ; a mythical figure who only in recent years became somewhat known and mostly mentioned by feminists, to perhaps add a woman to the list of heroic abolitionists. And though Harriet Tubman may well have been known in her time as a slave who ran away; the subject of her saving seventy some slaves, helping them escape, was never taught in history class in American schools, until recently. Abolitionists like John Brown were far better known, especially also due to the fact that their efforts of bringing an end to slavery was well recorded and thus made it into history books, becoming legendary figures of the time.
Harriet Tubman’s story, however, is controversial due to the fact that her rescuing of slaves was based on her own story, according to those having created the story of the abolitionist Harriet Tubman; not however on the accounts by others; those rescued or having witnessed her actions. To add to the controversy, new stories were added as to her accomplishments, fictional accounts, and these stories of her many heroic acts came into being after the year 2005.
If Andrew Jackson was to be replaced with an abolitionist, and preferably an African-American, why was Frederick Douglass, one of the most exemplary African-Americans of the 19th Century, not chosen to grace the 20 Dollar bill ? A former slave of NATIVE American and African-American background, is the one who should have been chosen, and it’s a shame that this true American hero, a man of such statue and enormous achievement, stands in the shadow of a woman whose history was primarily created in the 21st century.
Did you go to school before the 21st century. And have you ever heard of Harriet Tubman ? Seriously, have you ? I bet you haven’t and i really like to see a school book in which she was mentioned prior to 1990.