Relevant bibliographies by topics / Federico

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Federico'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Federico"

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Orozco, Wilson. "Armstrong, Nigel, y Federico M. Federici, eds., Translating Voices, Translating Regions, Roma, Aracne, 241p." Íkala, Revista de Lenguaje y Cultura 11, no. 1 (2006): 362–66. http://dx.doi.org/10.17533/udea.ikala.2794.

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Jia, Huihuang. "CALLUM, Walker; FEDERICI, Federico (Eds). Eye Tracking and Multidisciplinary Studies on Translation. Amsterdam, Benjamins Publishing Company, 2018, 299 pp., ISBN: 978-9-0272-0169-0." Hikma 20, no. 1 (2021): 311–16. http://dx.doi.org/10.21071/hikma.v20i1.13246.

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Polezzi, Loredana. "Translating Voices, Translating Regions by Nigel Armstrong, Federico Federici." Modern Language Review 102, no. 4 (2007): 1122–23. http://dx.doi.org/10.1353/mlr.2007.0453.

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Hanoulle, Sabien. "Federici, Federico M., ed. 2009. Translating Regionalised Voices in Audiovisuals." Target. International Journal of Translation Studies 26, no. 1 (2014): 154–58. http://dx.doi.org/10.1075/target.26.1.08han.

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Ortino, Federico. "Federico Ortino." Proceedings of the ASIL Annual Meeting 112 (2018): 67–68. http://dx.doi.org/10.1017/amp.2019.70.

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Even when it comes to investment, despite appearances to the contrary, it does not seem to me that there is a shift to the non-discrimination principle. First, there is no doubt that absolute standards such as fair and equitable treatment or the provision on expropriation have by far overshadowed the relative standards, in particular national treatment. Second, while the MFN standard has, on the other hand, been a key provision in investment treaty arbitration, particularly as an instrument to expand the scope of the ISDS system (based on more favorable provisions found in third-party treaties), there are clear signs in recent investment treaties of the willingness to curtail the use of the MFN provision as a way to extend the procedural and substantive protections of investors. This seems to be the current position, for example, of both the United States and the European Union (EU). Third, when it comes to the apparent disappearance of the absolute standards of treatment in some of the treaties being negotiated by the European Union (such as with Japan), this is more simply due to a question of the nature of the EU external competence in commercial matters. In its recent opinion on the EU-Singapore FTA, the Court of Justice of the EU has determined that the EU does not have exclusive competence to conclude agreements covering non-FDI and ISDS. The EU has thus responded to such opinion by splitting investment protection (with ISDS) from the rest of the trade agreement, thus keeping investment liberalization (including market access and national treatment) in the latter. In this way, while the trade agreement will fall under the exclusive competence of the EU, the former will still require ratification by each member state. While it is not clear whether the backlash vis-à-vis investment protection and ISDS in some quarters within some of the member states will eventually lead to the end of EU investment treaties, a decision in this sense has not yet been taken by EU institutions.
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Block de Behar, Lisa. "Federico Fellini." Cuadernos Literarios 4, no. 7 (2007): 17–32. http://dx.doi.org/10.35626/cl.7.2007.89.

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Lisa Block de Behar dilucida sobre la función de la anáfora en el lenguaje cinematográfico a partir de un segmento de L’Intervista, filme de Federico Fellini. En este, el director italiano ingresa en el límite entre la ficción y los hechos, entre los hechos y otras ficciones. Cabe agregar que esta versión en español corresponde al texto presentado en francés en el Coloquio “Christian Metz et la théorie du cinema”. Centre Culturel International de Cerisy-la-Salle, Francia, 29 de junio de 1989.
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Garattini, Silvio. "Federico Spreafico." European Journal of Cancer 30, no. 7 (1994): 1038. http://dx.doi.org/10.1016/0959-8049(94)90140-6.

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Verstegen, Ian. "Federico Barocci, Federico Borromeo, and the Oratorian Orbit*." Renaissance Quarterly 56, no. 1 (2003): 56–87. http://dx.doi.org/10.2307/1262258.

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AbstractFederico Barocci (1535-1612) has always held a special place in studies of the patronage of Filippo Neri's Roman Congregation of the Oratory. The problem is how to quantify the affinity between artist and patron without slipping into zeitgeist historicism. A close chronological examination of documents surrounding Barocci's commissions to Oratorians and other patrons like Cardinal Federico Borromeo and Pope Clement VIII shows a coordinated effort within a larger orbit.
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Harris, Derek, and Reed Anderson. "Federico Garcia Lorca." Modern Language Review 80, no. 4 (1985): 965. http://dx.doi.org/10.2307/3729021.

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Anderson, Reed, and Felicia Hardison Londre. "Federico Garcia Lorca." Hispania 69, no. 2 (1986): 310. http://dx.doi.org/10.2307/341670.

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Dissertations / Theses on the topic "Federico"

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Rosso, Gabriele <1988&gt. "Federico Marconi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6102.

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Questo lavoro intende presentare la figura dell'architetto friulano Federico Marconi. Ha aperto il suo studio a Udine nel 1962. Particolare importanza viene data alla sua formazione e alla presentazione di alcune opere caratteristiche del suo approccio.
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Velásquez, López Roberto. "Federico Villareal y Villareal." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/96678.

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Valente, Uribe Paulina. "Federico García Lorca : Los Putrefactos." Tesis, Universidad de Chile, 2000. http://repositorio.uchile.cl/handle/2250/108766.

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La presente investigación pretende introducirse en parte de la poesía de Federico García Lorca para conocer un aspecto no dilucidado de la obra del poeta andaluz a través del término putrefacto. Se dará cuenta de la influencia y del impacto que el término produjo reflexionando, al mismo tiempo, acerca de este concepto relacionado con la literatura.
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Mummenbrauer, Kai. "Die Ästhetik des Scheiterns : Autobiographie und theoriegelenktes Schreiben im Frühwerk Federico De Robertos /." Aachen : Shaker, 2001. http://catalogue.bnf.fr/ark:/12148/cb400634298.

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Ferrada, Castro Susana. "Federico García Lorca: una obra teatral satírica." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399720.

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Federico García Lorca: una obra teatral satírica es el resultado de una investigación sin precedentes, pues, a pesar de lo mucho que se ha escrito sobre Federico García Lorca y su obra, la hipótesis en la que se ha fundamentado esta investigación implica una interpretación inédita de la obra lorquiana y, al mismo tiempo, supone una nueva percepción del poeta, al ahondar en una faceta de su controvertida personalidad de la que ningún otro investigador ha partido para analizar su obra. El propósito primordial de esta tesis consiste en demostrar que Lorca fue un satírico y que, por tanto, la sátira es una constante en sus obras, aunque no fueran concebidas íntegramente como sátiras. Federico García Lorca: una obra teatral satírica evidencia que lo cómico y lo serio, así como el innegable aspecto crítico, son rasgos satíricos intrínsecos a la obra lorquiana. Así mismo, demuestra que, sin descartar otras modalidades de su praxis dramática, Lorca llevó a cabo su crítica sirviéndose del humor, que oscila entre lo puramente jocoso y el humor negro, y se manifiesta mediante el empleo de técnicas tradicionales de la sátira, con idéntico propósito al del satírico: degradar a su objeto de ataque suscitando sonrisa o repulsa. Federico García Lorca: una obra teatral satírica analiza en clave de sátira las farsas para actores y las “comedias irrepresentables”, identificando el objeto de ataque de la sátira lorquiana en estas obras y las técnicas satíricas empleadas por su autor. Además, este estudio prueba la afinidad de Lorca con otros satíricos, clásicos de la literatura española, e incide en la coexistencia entre tradición y vanguardia que Lorca empleó como un instrumento para satirizar. En este sentido, esta tesis ahonda en el vínculo del teatro lorquiano con la farsa, el entremés, la Commedia dell´arte, el teatro de títeres, la aleluya, los misterios medievales, el auto sacramental, el surrealismo y el teatro del absurdo desde una óptica satírica. En definitiva, esta tesis reivindica el aspecto satírico, presente de manera transversal en la obra de Federico García Lorca, que resulta ser determinante, pues da unicidad al corpus lorquiano y contribuye en gran medida a la universalidad de este autor.<br>Federico Garcia Lorca: a satirical theatrical work is the result of an unprecedented investigation because, despite how much has been written about Federico García Lorca and his work, the hypothesis which has based this research involves a new interpretation of Lorca's work and at the same time, represents a new perception of the poet, to delve into a facet of his controversial personality than any other researcher has started to analyze his work. The primary purpose of this thesis is to show that Lorca was a satirist and, therefore, satire is a constant in his plays, although they were not conceived entirely as satires. Federico Garcia Lorca: a satirical theatrical work evidences comic and serious, as well as the undeniable critical aspect, are satirical traits intrinsic to Lorca's work. It also shows that, without ruling out other forms of his dramatic praxis, Lorca held his criticism making use of humor, ranging from the purely jocular and black humor, and is manifested by employing traditional techniques of satire, with the same purpose as the satirist: to degrade the object of attack sparking repulse or smile. Federico Garcia Lorca: a satirical theatrical work analyzes the farces for actors and the "impossible plays" identifying the object of attack in these plays and the satirical techniques employed by its author. In addition, this study proves the affinity of Lorca with other satirists, classics of Spanish literature, and highlights the coexistence of tradition and modernity that Lorca used as an instrument to satirize. In this sense, this thesis explores the link between Lorca´s theatre and farce, entremés, the Commedia dell'arte, puppet theatre, aleluya, medieval mysteries, auto sacramental, surrealism and theatre of absurd from a satirical perspective. In short, this thesis claims the importance of the satirical aspect that gives uniqueness to the entire production of Lorca and contributes greatly to the universality of this author.
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Nuti, Laura. "La ricezione di Federico Fellini in Francia." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20021.

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La thèse vise à faire le point sur la réception (critique et publique) de Fellini en France sur la plus grande partie de sa carrière de réalisateur 1953-1993. À travers l’étude d’un large choix des témoignages et documents on souhaite montrer une différence significative entre l’Italie et la France, et se questionner sur les causes qui la déterminent. Une certaine mythologie (Barthes) se dégage de cette première analyse qui demande à être identifiée, questionnée, mise en perspective dans une étude transtextuelle qui sera le centre de la deuxième partie de la thèse<br>In this thesis, I’ll provide a brief overview on the major turning points of the critical response to Fellini’s films in the 20th century French press (especially in Cahiers du cinéma and Positif). To this end, starting from I Vitelloni – the first Fellini’s film to be released in French theatres – up to The Voice of the Moon – Fellini’s last movie –, I’ll follow the critical debate on Fellini’s films, with particular reference to issues concerning dramatic structure and neo-realism. Within this context, I’ll highlight how Cahiers changed its critical response to Fellini’s work throughout the years, from his exclusion from the “auteurs’ elite group” to his final inclusion. This work also contains references to Nouvelle Vague, Roland Barthes, George Simenon and Gilles Deleuze
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Mordenti, Francesco. "Dinamiche gestionali dell'aeroporto Federico Fellini di Rimini." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7003/.

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Růžičková, Eva. "Federico García Lorca - Krvavá svatba kostýmní výprava." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156118.

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The thesis it´s about theatre play Blood Wedding written by spanish author F. G. Lorca. In first theoretical part I briefly concentrate on author, his life and his life´s work. Than I analyze drama Blood Wedding with focus of symbols and metaphors, which are dominated in the play of Lorca. At the end of theoretical part I choose three performances of Blood Wedding from three different directors. I describe them and complete them with fotos from performances. In a practical part of my thesis I analyze all dramatical characters and give description and explication of their costumes, which I use.
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Scomparin, Francesco <1990&gt. "Le rime del Quadriregio di Federico Frezzi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9001.

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Dopo la presentazione della vita di Federico Frezzi e del Quadriregio, un poema allegorico-didattico ad imitazione della Commedia di Dante, la tesi procede con l'analisi delle scelte rimiche del poeta, basandosi innanzitutto sul rimario realizzato a questo fine. L'indagine, che riguarda un ambito mai studiato sistematicamente, si concentra sul confronto con il modello dantesco e soprattutto sull'esame dei numerosi luoghi in cui Frezzi utilizza gli stessi gruppi di parole rima della Commedia, individuati per mezzo di uno strumento informatico creato a questo scopo.
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SCUDERI, BIAGIO. "IMAGO MUSICAE: FEDERICO TIEZZI DAL TEATRO ALL'OPERA." Doctoral thesis, Università degli Studi di Milano, 2018. http://hdl.handle.net/2434/579564.

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Since his debut with the company “Il Carrozzone” (1970), Federico Tiezzi has stood out because of his peculiar dramaturgy which makes of figurative arts its hallmark.  In fact his contemporary education as art historian entails a fruitful permeation between stage and icon which allows him to establish himself as a precursor of the so-called “image theatre”.  In all the plays and operas he has put on, his rigorous visual grammar brings about suggestions and interferences that deeply innervate his scene setting. Moreover, reference to Aby Warburg’s teachings clearly shows up in his way of portraying the character on an intertextual backdrop, as well as in his pondered development of gestural expressiveness that he derives from the Pathosforlmen’s theory.  
The aim of my paper is to investigate Tiezzi’s poetics through the analysis of some of his theatrical plays that clearly display the osmosis between the scene and the figurative arts.  
The first case study is about the debut of Tiezzi as opera director in 1991 with Bellini’s Norma at the Teatro Petruzzelli of Bari with the unusual collaboration of Mario Schifano, star of the Pop-Art, in making the stage curtains and backdrops. The naïf art of Schifano fits within a neoclassical set with explicit references of the paintings of Jacques-Louis David creating an evocative contrast both aesthetic and semantic.
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Books on the topic "Federico"

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illustrator, Olaberria Beñat, ed. Federico & Federico. Amaquemecan, 2013.

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Schoulgin, Eugene A. Federico, Federico!: Roman. Gyldendal, 1988.

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Rossano, Federico. Federico Rossano. Grimaldi, 2000.

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Fellini, Federico. Federico Fellini. Gruppo Prospettive, 1994.

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Secchiaroli, Tazio. Federico Fellini. Rizzoli libri illustrati, 2003.

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Zaoral, Zdenek. Federico Fellini. ČS filmový ústav, 1989.

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Töteberg, Michael. Federico Fellini. Rowohlt, 1989.

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Borin, Fabrizio. Federico Fellini. Gremese, 1999.

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Skårderud, Finn. Federico Fellini. Gyldendal, 1999.

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Quintana, Angel. Federico Fellini. Cahiers du cinéma Sarl, 2011.

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Book chapters on the topic "Federico"

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Wild, Gerhard. "Andahazi, Federico." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2360-1.

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De Angelis, Simone. "Pendasio, Federico." In Encyclopedia of Renaissance Philosophy. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-02848-4_352-1.

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Hockey, Thomas. "Cesi, Federico." In Biographical Encyclopedia of Astronomers. Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-9917-7_256.

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Chinnici, Ileana, James M. Lattis, Mariafortuna Pietroluongo, et al. "Cesi, Federico." In The Biographical Encyclopedia of Astronomers. Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-30400-7_256.

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De Angelis, Simone. "Pendasio, Federico." In Encyclopedia of Renaissance Philosophy. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-14169-5_352.

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Bendazzi, Giannalberto. "Federico Valle." In Twice the First. CRC Press, 2017. http://dx.doi.org/10.1201/9781315149004-10.

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Waller, Marguerite R. "Introduction." In Federico Fellini, edited by Francis Burke and Marguerite R. Waller. University of Toronto Press, 2002. http://dx.doi.org/10.3138/9781442674837-005.

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Briesemeister, Dietrich. "Federico García Lorca." In Kindler Kompakt: Lyrik des 20. Jahrhunderts. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04504-1_28.

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KLL. "Federico García Lorca." In Kindler Kompakt: Drama des 20. Jahrhunderts. J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_20.

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Wild, Gerhard. "De Roberto, Federico." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3340-1.

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Conference papers on the topic "Federico"

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Selyutina, A. A. "National themes in the works of Federico Moreno Torroba." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-06-2020-08.

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Carlomagno, Giovanni Maria. "An Excursus of Some Experimental Investigations Poerformed with Infrared Thermography at Federico II." In 2016 Quantitative InfraRed Thermography. QIRT Council, 2016. http://dx.doi.org/10.21611/qirt.2016.d.

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Delgado Batista, César Alexis, Mariela Yamileth Sánchez Rodríguez, and Erick Ramos Sánchez. "IMPLEMENTACIÓN DE UNA PLATAFORMA VIRTUAL EDUCATIVA PARA EL CENTRO EDUCATIVO BILINGÜE FEDERICO ZÚÑIGA FELÍU." In II Congreso de Creatividad e Innovación en Educación. Universidad Internacional de Ciencia y Tecnología, 2023. http://dx.doi.org/10.47300/978-9962-738-17-6-28.

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La integración de tecnologías innovadoras en la educación se ha convertido en un requerimiento vital para el progreso pedagógico. Postpandemia, las instituciones educativas están adoptando la implementación de plataformas virtuales con el propósito de responder a las transformaciones educativas actuales y superar los desafíos de la educación remota, promoviendo la integración efectiva de la tecnología en el proceso educativo. El Centro Educativo Bilingüe Federico Zúñiga Feliú (CEBFZF) del distrito de Penonomé en la Provincia de Coclé es una de ellas, con una membresía que supera los 2 mil estudiantes requiere de la implementación de un entorno virtual que sirva de apoyo a la gestión académica acorde con los nuevos modelos educativos. Para lograrlo, se plantea el uso de la metodología Scrum con un enfoque de desarrollo iterativo para identificar necesidades y problemáticas a través de la aplicación de instrumentos basados en encuestas y entrevistas a usuarios, la propuesta y desarrollo de una plataforma de aprendizaje basada en el sistema de gestión de aprendizaje LMS Moodle con la perspectiva de generar un mayor rendimiento académico de los estudiantes, así como también la optimización en la gestión y administración de los cursos, su adaptabilidad a las necesidades cambiantes y su potencial innovador para modelar futuros proyectos educativos a lo interno del centro educativo y una solución integral a los desafíos de la educación moderna en la región, como modelo para futuras iniciativas educativas en colegios públicos oficiales de la República de Panamá. Esta es una investigación en desarrollo.
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Cortez, Velka, Merari Gomez Cortes, Edith Adriana Benitez Vazquez, and Enrique Faugier Fuentes. "AB0954 PEDIATRIC RHUPUS A RARE OVERLAP SYNDROME: CASE SERIES OF MEXICAN CHILDREN’S HOSPITAL FEDERICO GOMEZ." In Annual European Congress of Rheumatology, EULAR 2019, Madrid, 12–15 June 2019. BMJ Publishing Group Ltd and European League Against Rheumatism, 2019. http://dx.doi.org/10.1136/annrheumdis-2019-eular.1877.

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Damásio, Kevin Luís. "Federico Zeri e sua fototeca: contatos e inflexões entre o connoisseur e a fotografia de arte." In Encontro da História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3481.

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Mastruzzo, Ana Ligia. "The Mesoamerican Sound Heritage in Current Argentinian Music for Flute." In Socratic Lectures 8. University of Lubljana Press, 2023. http://dx.doi.org/10.55295/psl.2023.ii19.

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The theme of the discussion is the influence of Mesoamerican culture legacy in the Argentinian contemporary music for flute. The aim of the article is to analyse the piece ”Coyolyantototl'' (in Náhuatl language meaning place of action of the rattle bird) for Pre columbian flute, flute and recitation in Náhuatl (one performer) composed in 2021 by Federico Núñez and dedicated to Argentinian- Italian flutist Ana Ligia Mastruzzo. Also it was the aim of the article to find the connections between Mesoamerican legacy and the actual musical productions in Latin America. Keywords: Mesoamerican culture; music; Flute; Mexicas; Contemporary music; Prehispanic instrument
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Ameduri, Salvatore, Antonio Concilio, Ignazio Dimino, Rosario Pecora, and Sergio Ricci. "AIRGREEN2 - Clean Sky 2 Programme: Adaptive Wing Technology Maturation, Challenges and Perspectives." In ASME 2018 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/smasis2018-8235.

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By introducing the progresses on Morphing currently achieved within the European Project “AIRGREEN2”, in Clean-Sky 2 GRA platform, this work presents a review of the research step forwards accomplished in the last decade by three Italian Partners largely active in the field: the Italian Aerospace Research Centre, the University of Naples “Federico II” and the Politecnico of Milano. A chronologic overview is at first presented, revisiting the research programs and the achieved results; an organic development path has been then built, starting from low TRL achievements up to arrive at the most complete technical accomplishments, characterized by a high level of integration and targeting specific aerospace applications.
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Montella, Emma, Teresa Angela Trunfio, Umberto Armonia, et al. "A study of healthcare associated infections in the Intensive Care Unit of “Federico II” University Hospital through Logistic Regression." In ICBBS 2021: 2021 10th International Conference on Bioinformatics and Biomedical Science. ACM, 2021. http://dx.doi.org/10.1145/3498731.3498750.

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Montella, Emma, Ilaria Loperto, Michela Pietrantonio, Vincenza Colucci, Maria Triassi, and Alfonso Maria Ponsiglione. "Investigation of the risk of surgical infections at the “Federico II” University Hospital by regression analysis using the Firth method." In BECB 2021: 2021 International Symposium on Biomedical Engineering and Computational Biology. ACM, 2021. http://dx.doi.org/10.1145/3502060.3503649.

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Angrisani, L., P. Arpaia, F. Bonavolonta, and R. Schiano Lo Moriello. "Academic Fablab at University of Naples Federico II: New Research and Development Opportunities in the Fileds of IoT and Industry 4.0." In 2018 Workshop on Metrology for Industry 4.0 and IoT. IEEE, 2018. http://dx.doi.org/10.1109/metroi4.2018.8439043.

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Reports on the topic "Federico"

1

Galenson, David, and Joshua Kotin. Filming Images or Filming Reality: The Life Cycles of Movie Directors from D.W. Griffith to Federico Fellini. National Bureau of Economic Research, 2005. http://dx.doi.org/10.3386/w11486.

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Quintas-Froufe, Eva. La evolución de la comunicación publicitaria: Análisis de la obra de Federico Ribas para Perfumería Gal (1916-1936). Revista Latina de Comunicación Social, 2012. http://dx.doi.org/10.4185/rlcs-2012-963.

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Quintas-Froufe, Eva. Evolution of Advertising Communication in the Pre-war: Analysis of Federico Ribas’ Advertising Portfolio for Gal Fragrance House (1916-1936). Revista Latina de Comunicación Social, 2012. http://dx.doi.org/10.4185/rlcs-2012-959en.

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Quintas-Froure, Eva. Evolution of Advertising Communication in the Pre-war: Analysis of Federico Ribas’ Advertising Portfolio for Gal Fragrance House (1916-1936). Revista Latina de Comunicación Social, 2012. http://dx.doi.org/10.4185/rlcs-2012-963en.

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Torre, Costanza. Considérations clés : Mobiliser les « personnes en déplacement » pour promouvoir l’acceptation du vaccin contre la COVID-19 en Italie. SSHAP, 2022. http://dx.doi.org/10.19088/sshap.2022.023.

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La présente note stratégique relative aux considérations clés énonce les perceptions, la compréhension et les expériences de la vaccination contre la COVID-19 parmi les « personnes en déplacement » en Italie. Pour un nombre croissant de ces personnes, l’Italie est considérée comme une destination de transit pour atteindre d’autres pays européens. Les considérations exposées dans cette note stratégique sont pertinentes pour les pays situés le long des routes migratoires de la Méditerranée orientale et centrale. Les décideurs de l’UE ont exprimé leur inquiétude quant à la vulnérabilité des populations mobiles – un groupe qui comprend les réfugiés, les demandeurs d’asile et des migrants sans papiers – en ce qui concerne la COVID-19. En raison de l’extrême mobilité de ces populations, associée à la frayeur vis-à-vis des autorités de l’État, les experts en santé publique ont relié les communautés à un risque accru de transmission de la COVID-19 à l’intérieur et au-delà des frontières nationales. Pourtant, les mêmes facteurs reliant les populations mobiles à la transmission de la COVID-19 rendent également ces personnes difficiles à atteindre par le biais de campagnes de vaccination menées par l’État. Cette note stratégique met en évidence les complexités de cette situation humanitaire et fournit des conseils concernant les approches de vaccination qui tiennent compte des vulnérabilités et des priorités spécifiques des populations. Cette note stratégique s’appuie sur des recherches menées le long de la frontière alpine italienne en 2021. Elle a été rédigée pour la SSHAP par Costanza Torre (LSE) en collaboration avec Elizabeth Storer (LSE) et Sara Vallerani (Université de Rome III). En outre, des contributions et des commentaires ont été fournis par Megan Schmidt-Sane (IDS), Eloisa Franchi (Université Paris Saclay – Université de Pavie), et le Professeur Federico Federici (UCL). La responsabilité inhérente à cette note stratégique revient à la SSHAP. La recherche a été financée par le biais du Fonds du G7 (COVG7210058) destiné au programme de reprise après la COVID-19 de l'Académie Britannique. La recherche était basée au Firoz Lalji Institute for Africa, London School of Economics. La responsabilité inhérente à cette note stratégique revient à la SSHAP.
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Ripoll, Santiago, Tabitha Hrynick, Ashley Ouvrier, Megan Schmidt-Sane, Federico Marco Federici, and Elizabeth Storer. 10 Ways Local Governments in Multicultural Urban Settings can Support Vaccine Equity in Pandemics. SSHAP, 2022. http://dx.doi.org/10.19088/sshap.2022.016.

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At national and aggregate levels, COVID-19 vaccination across G7 countries appears successful. To date, 79.4% of the total population of G7 countries have received a first dose, 72.9% a second, and 45.4% a booster shot (28th April 2022 data). In France, 80.6% of the total population has had a first dose, 78.2 % have had two doses, and 55.4% have had their booster jabs (28th of April 2022 data). In the UK, 79.3% of the total population has received one dose, 74.1% a second one, and 58.5% have received a booster. In Italy, 85.2% of the total population has had a first dose, 80.4% have had two doses, and 66.5% have had their booster jabs (28th of April 2022 data). These figures indicate enthusiasm across G7 countries for COVID-19 vaccines. Yet high overall vaccination rates at the national level, disguise significant in-country disparities. For example, by the end of 2021, less than 50% of residents of the Northern Districts of Marseille were vaccinated, compared with over 70% in wealthier neighbourhoods. In the Ealing borough of Northwest London, 70% of the eligible population has had a first dose – which is almost 10% percent below the national average (4th of April 2022 data). Disparities are also seen in other urban metropolises across the G7. This brief investigates these disparities through the lens of “vaccine (in)equity”, focusing on the role of local actors. It builds on ethnographic and qualitative research carried out in the Northern Districts of Marseille and ongoing research engagement around vaccine equity in Ealing (Northwest London), as well as qualitative research carried out in Italy among networks of healthcare providers, intercultural mediators, and civil society organizations that collaborated during the COVID-19 campaign in the Emilia Romagna region and in Rome. This brief is based on research conducted between October and December 2021 in Marseille and ongoing engagement in Ealing which started in May 2021. It identified how local governments, health actors, community groups and residents play key roles in shaping vaccine (in)equity. This brief was developed for SSHAP by Santiago Ripoll (IDS), Tabitha Hrynick (IDS), Ashley Ouvrier (LaSSA), Megan Schmidt-Sane (IDS), Federico Federici (UCL) and Elizabeth Storer (LSE). It was reviewed by Eloisa Franchi (Università degli Studi di Pavia) and Ellen Schwartz (Hackney Council Public Health). The research was funded through the British Academy COVID-19 Recovery: G7 Fund (COVG7210038). Research was based at the Institute of Development Studies (IDS), University of Susssex, and the Laboratoire de Sciences Sociales Appliquées (LaSSA). The brief is the responsibility of SSHAP.
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Ripoll, Santiago, Tabitha Hrynick, Ashley Ouvrier, Megan Schmidt-Sane, Federico Marco Federici, and Elizabeth Storer. 10 façons dont les gouvernements locaux en milieu urbain multiculturel peuvent appuyer l’égalité vaccinale en cas de pandémie. SSHAP, 2023. http://dx.doi.org/10.19088/sshap.2023.001.

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Si l’on s’en tient aux chiffres de la vaccination contre la COVID-19 dans les pays du G7, la campagne apparaît comme un véritable succès tant au niveau global qu’au niveau national. En effet, à ce jour, 79,4 % de la population totale des pays du G7 a reçu une première dose, 72,9 % une seconde, et 45,4 % une dose de rappel (données du 28 avril 2022) 1 En France, c’est 80,6 % de la population totale qui a reçu une première dose, 78,2 % qui a reçu deux doses, et 55,4 % qui a reçu un rappel (données du 28 avril 2022).2 Au Royaume-Uni, 79,3 % de la population totale a reçu une première dose, 74,1 % une seconde, et 58,5 % un rappel.1 Enfin, en Italie, 85,2 % de la population totale a reçu une première dose, 80,4 % a reçu deux doses et 66,5 % a reçu leurs rappels (données du 28 avril 2022). Ces taux de vaccination élevés masquent pourtant des disparités importantes à l’intérieur de chaque pays. Ainsi, à Marseille, deuxième ville de France, moins de 50 % des habitants des quartiers nord de la ville étaient vaccinés à la fin de l’année 2021, alors que plus de 70 % des habitants des quartiers sud l’étaient au même moment.3 Dans le quartier populaire de Ealing, situé au nord-ouest de Londres, 70 % de la population admissible avait reçu une première dose, soit près de 10 % de moins que la moyenne nationale. 4 (Données du 4 avril 2022). Des disparités similaires ont été observées dans d’autres métropoles urbaines des pays du G7. Ce document examine ces disparités au prisme de la notion d’« (in)égalité vaccinale ». En s’appuyant sur des recherches qualitatives menées pendant la campagne de vaccination de la COVID-19 dans les quartiers nord de Marseille, le quartier de Ealing à Londres (Nord-ouest) et dans la région de l'Émilie-Romagne et à Rome, en Italie, il montre comment les autorités locales peuvent agir pour atténuer ces inégalités. Mieux comprendre les inégalités en matière de vaccins fut primordial lors de la pandémie de la COVID-19 en ce sens que les populations sous-vaccinées étaient la plupart du temps des minorités ethniques ou culturelles, vivant dans des zones défavorisées, ou sans-papiers, donc plus susceptibles de contracter la COVID-19, et d’en subir les conséquences les plus dramatiques. 5 6 7 8 Ainsi, à Ealing, quatre mois après la campagne de vaccination, seulement 57,6% des personnes dans le décile de pauvreté le plus bas avaient reçu une dose, contre 81% des personnes dans le décile le plus aisé. 9 En outre, 89,2 % des résidents britanniques blancs de Ealing étaient vaccinés, contre 64 % des Pakistanais et 49,3 % des habitants issus des Caraïbes.9 À Rome, comme c’est le cas dans d’autres métropoles urbaines des pays du G7, nos données révèlent des disparités particulières importantes entre le recours aux vaccins des populations sans papiers et celui des citoyens établis. Les facteurs d’inégalité vaccinale dans ces environnements urbains sont complexes et liés à l’interaction de nombreux phénomènes tels que les inégalités économiques, le racisme structurel, l'inégalité d'accès aux soins de santé, la méfiance envers les professionnels de santé, les représentants de l'État, et plus encore. Les collectivités locales tout comme les professionnels de la santé, les groupes communautaires et les résidents jouent un rôle clé dans la manière dont s’exprime l’(in)égalité vaccinale. Pour autant, peu de leçons ont été systématiquement tirées des efforts menés en matière d’ «engagement vaccinal » au niveau local. Dans ce document, nous proposons d’expliquer comment l’expérience des inégalités structurelles se recoupe avec celle des habitants, et comment ces expériences ont été prises en compte ou au contraire ignorées dans la promotion et l’administration des vaccins contre la COVID-19 par les collectivités locales. Nous adressons également un ensemble de recommandations qui s’appliquent aux programmes de « vaccination de rattrapage » contre la COVID-19 (visant à atteindre les personnes qui n’ont pas encore reçu leur schéma vaccinal complet), mais elles concernent également les programmes de vaccination d'urgence à venir. Ce document repose sur des recherches menées entre octobre et décembre 2021 à Marseille et sur des échanges réguliers avec les autorités du Borough de Ealing initiés dès mai 2021. Il identifie comment les gouvernements locaux, les acteurs de la santé, les groupes communautaires et les résidents jouent un rôle clé dans la production d’(in)égalités vaccinales. Ce document a été élaboré pour la SSHAP par Santiago Ripoll (IDS), Tavitha Hrynick (IDS), Ashley Ouvrier (LaSSA), Megan Schmidt-Sane (IDS), Federico Federici (UCL) et Elizabeth Storer (LSE). Il a été revu par Eloisa Franchi (Université de Pavie) et Ellen Schwartz (Conseil de santé publique de Hackney). La recherche a été financée par la British Academy COVID-19 Recovery : Fonds G7 (COVG7210038). Les recherches ont été menées à l’Institut d’études du développement (IDS), à l’Université de Sussex et au Laboratoire des sciences sociales appliquées (LaSSA). La SSHAP en assume la responsabilité.
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10

New Visions: 2008-2011: A Selection of the Latest Acquisitions from the IDB Art Collection. Inter-American Development Bank, 2011. http://dx.doi.org/10.18235/0005967.

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This catalog belongs to the exhibition that celebrates the 19th anniversary of the Inter-American Development Bank Cultural Center, originally inaugurated on May 15th, 1992 by the President of Chile, Patricio Aylwin. On this occasion the IDB Cultural Center is pleased to present an exhibit of the artworks that became part of the Collection through the acquisition fund, gifts and permanent loans. It features 25 art works by 17 artists featuring: Federico Martino, Sebastián Spreng, and Susana Sulic (Argentina); Gastón Orellana (Chile); Ana Isabel Díez Zuluaga and Omar Rayo (Colombia); Silvia Elena Monge Puig (Costa Rica); Niurka Barroso (Cuba-Canada); Carmen Herrera and Emilio Sánchez (Cuba-United States); Julio Valdez (Dominican Republic); Geovanny Verdezoto (Ecuador); Luis González Palma (Guatemala); Mireille Délice (Haiti); Antonio López Sáenz and Alberto Alejandro Millares Méndez (Mexico); and Naúl Ojeda (Uruguay).
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