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Journal articles on the topic 'Pagliacci'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

Albright, William. "Pagliacci. Ruggero Leoncavallo." Opera Quarterly 8, no. 4 (1991): 155–57. http://dx.doi.org/10.1093/oq/8.4.155.

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2

Green, London. "Pagliacci. Ruggero Leoncavallo." Opera Quarterly 4, no. 2 (1986): 166–67. http://dx.doi.org/10.1093/oq/4.2.166.

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3

Harris, Kenn. "Pagliacci. Ruggero Leoncavallo." Opera Quarterly 7, no. 3 (1990): 201–3. http://dx.doi.org/10.1093/oq/7.3.201.

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4

Williams, Gavin. "Machine Speak Ruggiero Leoncavallo, ‘Vesti la giubba’ (Pagliacci), I Pagliacci, Act I." Cambridge Opera Journal 28, no. 2 (July 2016): 243–46. http://dx.doi.org/10.1017/s095458671600032x.

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5

AYYILDIZ, Bülent. "Operada Cinayet: “Cavalleria Rusticana” ve “I Pagliacci”." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 58, no. 1 (October 5, 2018): 82. http://dx.doi.org/10.33171/dtcfjournal.2018.58.1.5.

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Pietro Mascagni’nin “Cavalleria Rusticana” ve Ruggero Leoncavallo’nun “I Pagliacci” adlı operaları İtalyan Risorgimento döneminin en önemli eserlerindendir. İtalyan Birliği’nin sağlanmasının ardından ortaya çıkan toplumsal, siyasal ve kültürel değişimleri ilk elden yansıtan eserler olarak bu iki opera hem kronolojik olarak hem de konu bütünlüğü açısından birbirini tamamlar niteliktedirler. Mascagni’nin 1890 ve Leoncavallo’nun 1892 tarihli operaları İtalyan operasında bir dönüm noktasını ifade ederken, yeni bir tiyatro ve sanat anlayışının doğuşunu müjdeler: gerçekçilik ve verist opera. “Cavalleria Rusticana” ve “I Pagliacci” verist opera anlayışının öncüleri, bir anlamda da kural koyucu örnekleri olarak hem tiyatro, hem de edebiyat tarihinde önemli bir yer tutarlar. Bu çalışmanın amacı, “Cavalleria Rusticana” ve “I Pagliacci” adlı operalardan yola çıkarak, Risorgimento dönemi verist opera anlayışını incelemek, opera ve edebiyat arasındaki ilişkiyi irdelemek ve duyguların opera aracılığı ile yeniden yorumlanmasına ilişkin değerlendirmelerde bulunmaktır.
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6

Díaz Hilton, Adrián. "Los niveles metaficcionales en Pagliacci." Interpretatio. Revista de Hermenéutica 5, no. 2 (August 17, 2020): 207–22. http://dx.doi.org/10.19130/iifl.it.2020.5.2.0013.

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Metafictional levels in Rugiero Leoncavallo’s Pagliacci establish the concept of reality set in dramatic and interpretative functions. This essay aims to explain, throughout a hermeneutic and a semiotic analysis, how metafiction creates a meaningful link between reality and fiction. Here, a hermeneutic theory that relies on the spectator’s, actors’ and the director’s point of view is developed from the concept of verism. The author of the libretto plays around within the planes of reality and fiction to create an enigma that explains the meaning and interpretation phenomenon using a metaplay as a frame liaised by a mise en abyme. It is concluded that metafiction reaches beyond a single structure within another that explains itself, it leaves the margins of reality, fiction and the spectator’s imagination, and they build the oeuvre’s signification.
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7

Basini, Laura. "Masks, Minuets and Murder: Images of Italy in Leoncavallo's Pagliacci." Journal of the Royal Musical Association 133, no. 1 (2008): 32–68. http://dx.doi.org/10.1093/jrma/fkm012.

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This article interprets Leoncavallo's opera Pagliacci (1892) as a voicing of Italy's ‘Southern Question’ – the problem of the underdeveloped and socially troubled Italian South. Pagliacci juxtaposes cultural symbols that include a commedia dell'arte figure representative of the Italian South and antique genres perceived to be emblematic of ‘civilized’ northern culture. By interpreting the interaction of costumes and musical styles, I argue that the work incorporates images of southern Italy – that ‘violent’, ‘uncontrollable’, yet ‘picturesque’ region – into a broader, northern-dominated conception of Italian nationhood (an interpretative mechanism typical of contemporary image-making media such as magazines and novels).
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8

Bachelet, Vivienne C. "The taxi driver and I Pagliacci." Medwave 09, no. 02 (October 1, 2009): e3776-e3776. http://dx.doi.org/10.5867/medwave.2009.02.3776.

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9

McKee, D. "Two Recordings of Pagliacci. Ruggero Leoncavallo." Opera Quarterly 12, no. 3 (January 1, 1996): 144–47. http://dx.doi.org/10.1093/oq/12.3.144.

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10

Giger, Andreas. "“Svesti la giubba,” or, Uncloaking the Genesis of Pagliacci." 19th-Century Music 41, no. 3 (2018): 225–51. http://dx.doi.org/10.1525/ncm.2018.41.3.225.

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In 1943 Allied bombs destroyed the archives of Leoncavallo's publisher, Sonzogno, and of the Teatro Dal Verme, where Pagliacci was first performed. As a result, many sources pertaining to the opera's compositional history were lost, and scholarship has relied almost exclusively on Leoncavallo's unpublished autobiographical manuscript, “Appunti.” Contextual sources such as notifications in the press, eyewitness accounts, and a large body of mostly unpublished correspondence now suggest that Leoncavallo cloaked the opera's genesis to protect its legacy. Leoncavallo was twice charged with having imitated an existing play. In his protracted defense, he took every opportunity to distinguish his libretto from the literary tradition to which it belongs and tie it instead to the verismo movement (with which critics had associated it since the premiere). He began to claim, for instance, that the libretto was based on a crime of passion he had witnessed in Montalto and invented a version of that crime that matched the libretto. Furthermore, in preparation of the first performance in Paris, he actively contributed to a staging faithfully depicting Montalto in an attempt to highlight the originality of the story. And as he was tightening the opera's connection to verismo, he was concealing aspects that would have reflected poorly on the opera's reception, including Sonzogno's initial concerns regarding the music and the presence of substantial musical self-borrowings.
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11

SANSONE, MATTEO. "THE ‘VERISMO’ OF RUGGERO LEONCAVALLO: A SOURCE STUDY OF ‘PAGLIACCI’." Music and Letters 70, no. 3 (1989): 342–62. http://dx.doi.org/10.1093/ml/70.3.342.

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12

Fast, Richard. "Cryptocurrencies in hyperinflationary Venezuela." Risk Governance and Control: Financial Markets and Institutions 11, no. 4 (2021): 62–67. http://dx.doi.org/10.22495/rgcv11i4p5.

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This literature review covers hyperinflation in Venezuela, from the 1980s to the present. Particular emphasis is placed on the role of cryptocurrency in the country and how the Venezuelan government has been using crypto, specifically the Petro, as a means to avoid further blunders with hyperinflation. From Hugo Chávez and “Socialism of the 21st Century” to the current regime of Nicolás Maduro, Chávez’ successor, the printing of money in Venezuela has sky-rocketed to the point of the government needing cryptocurrency, such as Bitcoin, as a means of circumventing inflation to fund the government’s ambitious social projects. A key element in its success, however, will be whether the Venezuelan people will opt to use the government-backed Petro, or whether they will opt to use a different, decentralized alternative digital currency to avoid the perils of hyperinflation. The paper will examine this issue from several diverse points of view: specifically, the Austrian School (Echarte Fernández, Hernández, & Zambrano, 2018), the neo-Keynesian school (Pagliacci & Barráez, 2010), and public policy and institutional perspective (Corrales, 1999). The use of cryptocurrencies by governments, in particular socialist governments, is a new occurrence and merits much attention for the future of public and monetary policy in those countries.
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13

Kim, Soo Ah. "Human Emotion and Healing in Opera - Focusing on the Scene of Aria ‘Vesti la giubba’ from Opera 〈I Pagliacci〉 in Animation 〈Opera Imaginaire〉." Journal of Humanities Therapy 12, no. 1 (June 30, 2021): 27–39. http://dx.doi.org/10.33252/jht.2021.06.12.1.27.

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14

Winning, Robert S., Jon B. Scales, and Thomas D. Sargent. "Disruption of Cell Adhesion inXenopusEmbryos by Pagliaccio, an Eph-Class Receptor Tyrosine Kinase." Developmental Biology 179, no. 2 (November 1996): 309–19. http://dx.doi.org/10.1006/dbio.1996.0262.

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15

Detterman, Douglas K. "Reply to Deary and Pagliari: Is g intelligence or stupidity?" Intelligence 15, no. 2 (April 1991): 251–55. http://dx.doi.org/10.1016/0160-2896(91)90034-b.

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16

Clément, Jean-François. "Margaret Gillespie, Nanta Novello Paglianti, Miochelm Collet (éd.), Métamorphoses, corps, arts visuels, littér." Questions de communication, no. 38 (December 1, 2020): 630–31. http://dx.doi.org/10.4000/questionsdecommunication.24619.

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17

Watts, C. "Soil Degradation - edited by Krümmelbein, J., Horn, R. & Pagliai, M." European Journal of Soil Science 65, no. 4 (June 9, 2014): 625–26. http://dx.doi.org/10.1111/ejss.12155.

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18

TURRISI, GIUSEPPE FABRIZIO. "Revision of the Palaearctic species of Pristaulacus Kieffer, 1900 (Hymenoptera: Aulacidae)." Zootaxa 1433, no. 1 (March 26, 2007): 1–76. http://dx.doi.org/10.11646/zootaxa.1433.1.1.

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The Palaearctic species of the genus Pristaulacus Kieffer, 1900 are revised and illustrated for the first time. Twenty-one valid species are recognized. Two new species are described: P. edoardoi Turrisi, sp. nov., from Crete Island and Greece, and P. paglianoi Turrisi, sp. nov., from Morocco and Tunisia. Four new synonymies are proposed: Aulacus (Pristaulacus) holtzi Schulz, 1906 = P. compressus (Spinola, 1808) (syn. nov.); P. bimaculatus arozarenae Ortega & Baez, 1985 = P. galitae (Gribodo, 1879) (syn. nov.); Aulacus sibiricola Semenow, 1892 = P. gibbator (Thunberg, 1822) (syn. nov.); P. holzschuhi Madl, 1990 = P. gloriator (Fabricius, 1804) (syn. nov.). The following synonymies are confirmed on the basis of the study of type material: P. obscuripennis Westwood, 1841 = P. compressus (Spinola, 1808); P. bimaculatus Kieffer, 1900 and P. immaculatus Kieffer, 1904 = P. galitae (Gribodo, 1879). Three nomina nuda: A. beckeri Tournier, 1911, A. plurimaculatus Tournier, 1911, and A. transversostriatus Tournier, 1911, previously assigned to the genus Aulacus, are all synonyms of P. compressus (Spinola, 1808) (syn. nov.). The previously unknown male of P. boninensis Konishi, 1990 is described. Lectotypes and paralectotypes of P. comptipennis Enderlein, 1912, P. immaculatus Kieffer, 1904, and P. bimaculatus arozarenae Ortega & Baez, 1985 are designated. A key to species and distributional maps are also provided.
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19

Winning, Robert S., and Thomas D. Sargent. "Pagliaccio, a member of the Eph family of receptor tyrosine kinase genes, has localized expression in a subset of neural crest and neural tissues in Xenopus laevis embryos." Mechanisms of Development 46, no. 3 (June 1994): 219–29. http://dx.doi.org/10.1016/0925-4773(94)90072-8.

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20

Olivi, Alessandra. "Segre Malagoli, Enzo y Scotti, Simona (2013). Immaginari del cambiamento in America Latina. Religioni, culture, dinamiche economico-sociali. Firenze: Mauro Pagliai Editore, 205 pp." Revista Andaluza de Antropología, no. 6 (2014): 153–57. http://dx.doi.org/10.12795/raa.2014.i06.09.

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21

Gendre, Renato. "[Albonico, Simone; Limongelli, Marco; Pagliari, Barbara (a cura di). Valorosa vipera gentile: poesia e letteratura in volgare attorno ai Visconti fra Trecento e primo Quattrocento]." Études romanes de Brno, no. 2 (2017): 246. http://dx.doi.org/10.5817/erb2017-2-21.

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22

Rojo Guiilazú Chiozzi, Milagros. "Martín Fierro. Una mirada del hombre del siglo XIX desde su lugar de desterrado." Cuadernos de Literatura, no. 13 (August 13, 2013): 69. http://dx.doi.org/10.30972/clt.0133065.

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<p>José Hernández, con su personaje y obra Martín Fie"º• nos acerca a una mirada posible del desterrado en periodos de reorganización nacional. La ~isma es atravesada por el enfoque político que el autor asume tanto en La Ida como en La Vuelta. El gaucho Martín Fierro-un excluido social- debe adaptarse o huir. Sufre una pena que el Estado le impone por cometer el delito de "lio pertenecer", de no cumplir con ninguno de los estándares requeridos para constituirse como ciudadano libre y con derechos. Es expulsado de su territorio, de su vida, de su idiosincrasia; estableciéndose un correlato con la muerte civil del ser humano. De acuerdo con el enfoque teórico propuesto por Lucila Pagliai (2005:127-128) "La cuestión de la frontera y el desierto, del lugar del gaucho en el nuevo orden, de la pampa gringa y el alambrado son temas de alta conflictividad social que ingresan en la literatura de diversos modos, y alrededor de los cuales se van organizando en la cultura argentina dos campos de gran dinamismo, fluidez y continuidad: el de la tradición y el del progreso." Los lectores nos encontramos frente a una mirada desde el exilio de un personaje, que nos obliga a indagar respecto del paradigma ideológico que subyace tras cada una de sus palabras. El gaucho debe ser despojado de ese signo negativo que conlleva su particular denominación; Josefina Ludmer (1984: 472)alude a que"( ... ) La nueva lengua literaria seftala su desmarginalización, su reconocimiento y mutación·( ... )"</p><p>Este trabajo pretende mostrar un posible recorrido tanto de lectura como de análisis de una obra literaria crucial para la cultura argentina, contextualizada en un periodo de construcción de la identidad nacional, la que se edifica desde la perspectiva de un desterrado.</p><p> </p>
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Gagné, John. "Valorosa vipera gentile: Poesia e letteratura in volgare attorno ai Visconti fra Trecento e primo Quattrocento. Simone Albonico, Marco Limongelli, and Barbara Pagliari, eds. Studi lombardi 4. Rome: Viella, 2014. 250 pp. €32." Renaissance Quarterly 70, no. 1 (2017): 377–78. http://dx.doi.org/10.1086/691927.

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24

Quien, Enes. "Najraniji i rani radovi kipara Rudolfa Valdeca." Ars Adriatica, no. 3 (January 1, 2013): 193. http://dx.doi.org/10.15291/ars.469.

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The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.
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Moretti, Manuela. "Vocazione e rinascita di un pagliaccio." Aurora. Papeles del Seminario María Zambrano, no. 22 (March 4, 2021). http://dx.doi.org/10.1344/aurora2021.22.5.

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A partir del ensayo de María Zambrano «Charlot o el histrionismo», este artículo intenta mostrar cómo Limelight, la última película americana de Chaplin, es capaz de revelar lo más esencial del ser humano: su propia vocación. Además, se propone investigar el tema del sueño como manifestación primaria apta para revelar la trama metafísica de la vida humana. Finalmente, el artículo muestra que el nacimiento puede ofrecer una llave hermeneútica válida para una lectura del ensayo zambraniano
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Tasca, Tiago Gabriel, and Natalia Diniz Schwether. "Resenha de: Pagliari, Graciela De Conti e Oliveira, Marcos Aurélio Guedes de (Org .) . 2014 . Defesa e Cooperação Interagências." Revista Brasileira de Estudos de Defesa 3, no. 2 (June 24, 2017). http://dx.doi.org/10.26792/rbed.v3n2.2016.72481.

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Resenha de: Pagliari, Graciela De Conti e Oliveira, Marcos Aurélio Guedes de (Org .) . 2014 . Defesa e Cooperação Interagências . Recife: Editora UFPE . 228p . Coleção Defesa e Fronteiras Virtuais, v . 2 .
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Stevenson, M. "I>Lo specchio frammentato ed il pagliaccio piangente: alienation and L’umorismo in the films of Nanni Moretti." Italian Studies in Southern Africa/Studi d’Italianistica nell’Africa Australe 18, no. 2 (May 26, 2011). http://dx.doi.org/10.4314/issa.v18i2.66615.

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Casale, Achille. "A revision of the genus Atomopria Kieffer, 1910 (Hymenoptera Diaprioidea Diapriidae)." Bollettino della Società Entomologica Italiana, December 15, 2016, 99–114. http://dx.doi.org/10.4081/bollettinosei.2016.99.

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The genus Atomopria Kieffer, 1911 currently includes two only described species: A. fulvicornis Kieffer, 1911, from north-western Italy (Liguria) and A. rufithorax Kieffer, 1911, from Tunisia (Tunis). The following ten new species are described from North Africa and Canary Islands: A. helenae n. sp. (Algeria, Kabylia), A. giachinoi n. sp. (Algeria, Kabylia), A. lisae n. sp. (Algeria, Kabylia), A. olmii n. sp. (Canary Islands, Gran Canaria), A. ortegae n. sp. (Canary Islands, Tenerife), A. boffai n. sp. (Canary Islands, Tenerife), A. cavazzutii n. sp. (Canary Islands, Tenerife), A. longicornis n. sp. (Canary Islands, Tenerife), A. paglianoi n. sp. (Canary Islands, Tenerife), A. scaramozzinoi n. sp. (Canary Islands, Tenerife). Diagnostic morphological features of representatives of this genus are described; male genitalia of some species are illustrated for the first time. The synonymy of the genus Atomopria with Basalys Westwood, 1832 is also hypothesized, but not proposed in this contribution. A key for identification of all species is provided, both for females and males. Finally, some taxonomic and biogeographic questions are briefly debated.
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Cabaldi Carvalho, Adriana Garcia, and Cristina Pereira Duarte Boéssio. "Formação de Leitores: construindo caminhos a partir da sala de aula." RELACult - Revista Latino-Americana de Estudos em Cultura e Sociedade 5, no. 4 (May 5, 2019). http://dx.doi.org/10.23899/relacult.v5i4.1256.

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O presente estudo apresenta relatos e reflexões sobre as ações da proposta de intervenção, requisito do Mestrado Profissional em Educação, que está sendo desenvolvida com a turma do 4° ano da EMEF Padre Pagliani no município de Jaguarão, RS. A proposta tem por objetivo geral promover ações que despertem nos alunos o gosto pela leitura, partindo da reconstrução do espaço da sala de aula, e justifica-se pela dificuldade em desenvolver atividades relacionadas à leitura, bem como pelo desinteresse dos alunos. Durante a organização da proposta, foi adquirido um acervo para a turma por meio de doações dos alunos e por aquisição da professora, com livros diferentes dos que a biblioteca da escola possui. A intervenção teve como primeira ação a organização do cantinho da leitura, seguida de contação de histórias. Serão organizadas rodas de leitura, piquenique literário e dramatizações. O acervo da sala é disponibilizado para que os alunos também possam levar os livros para casa, incentivando-os a envolver a família em suas leituras. A proposta acontece em dois encontros por semana. Nas primeiras ações da intervenção pedagógica que está em andamento, a maioria dos alunos já demonstra interesse e participa ativamente.
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30

Issing, Otmar, Stephany Griffith-Jones, Stefano Pagliari, Claudia M. Buch, and Katja Neugebauer. "Lehren aus der Krise – Notwendige Änderungen der Finanzmarktregeln und zur Begrenzung systemischer Risiken." Zeitschrift für Wirtschaftspolitik 58, no. 3 (January 1, 2009). http://dx.doi.org/10.1515/zfwp-2009-0304.

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Abstract:
AbstractThe latest financial crisis has been caused by a mixture of state and market failure, argues Otmar Issing. To avoid future crises, more transparency is needed - not by gathering more information, but by gathering it systematically and thereby creating “intelligent transparency”. Furthermore, regulation has to be global, he states. The necessary institutions are in place: The International Monetary Fund, the Financial Stability Board and the Bank for International Settlements.Stephany Griffith-Jones and Stefano Pagliari point out, that containing “systemic risk” is one of the most important rationales for regulating financial markets. Our understanding of the sources of systemic risk has repeatedly been challenged by major episodes of financial instability. The crisis that started in the summer of 2007 has been no exception. They discuss how the latest global financial crisis urges analysts and regulators to rethink the origin of systemic risk beyond a narrow focus on the banking sector, beyond the “too big to fail problem”, and beyond a narrow micro-prudential focus. They focus on two regulatory principles: comprehensiveness and countercyclicality.Claudia Buch und Katja Neugebauer review the existing empirical evidence on whether the increase in cross-border activities has allowed banks to diversify risks and to what extent it has increased banks’ exposure to systemic risks.
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31

Capdevila, Luc. "Élida Lois y Lucila Pagliai (edición crítica), Liliana Brezzo y Ricardo Scavone Yegros (estudios históricos), Juan Bautista Alberdi – Gregorio Benítes. Epistolario Inédito (1864-1883), Asunción del Paraguay/San Martín (provincia de Buen." Nuevo mundo mundos nuevos, February 4, 2009. http://dx.doi.org/10.4000/nuevomundo.55133.

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