Suchergebnisse

Richard W. Painter (University of Minnesota Law School) has posted SCOTUS House: Can a Supreme Court Ethics Lawyer and Inspector General Help Get this Fraternity under Control on SSRN. Here is the abstract: In 2023, the United States Supreme Court...

Taha Toros Arşivi, Dosya No: 98-Fausto Zonaro ; İstanbul Kalkınma Ajansı (TR10/14/YEN/0033) İstanbul Development Agency (TR10/14/YEN/0033)

There seems to be a tendency to disregard the sovereignty of the little Principality of Liechtenstein. In a chart published by one of America's leading news magazines on the United Nations, there is this strange reference: "Andorra, Liechtenstein, Monaco and San Marino are not eligible (for membership in the United Nations) being principalities rather than sovereign (sic) states." A book on the government of Switzerland devotes the last three paragraphs to Liechtenstein and then concludes that it looked as though Liechtenstein had "actually become a Swiss canton in all respects except, perhaps, for the right of the principality to issue its own postage stamps."

In 1842, the court artist Pelagio Palagi (1775–1860) devised four temporary floating castles on the river Po for the remarkable urban celebrations for the nuptials of His Royal Highness Victor Emmanuel of Savoy-Carignan (1820–1878) to Her Imperial and Royal Highness Maria Adelaide of Habsburg (1822–1855) in Turin. The structures formed the central pieces of a broad medievalist programme that, during the reign of Charles Albert of Savoy-Carignan (1831–1849), brought the Middle Ages back to life in the Kingdom of Piedmont-Sardinia. Challenging the classicised image of the Sabaudian monarchy, this article insists that neo-medieval architecture and the architectural style that I call 'Risorgimental neo-medievalism' mirrored a calibrated medievalist and royalist strategy against the background of Italy's 'resurgence'. Countering recurrent biases that read Italian revivalist architecture as an exercise in taste, it discusses Palagi's designs as the tools of a political reworking of the Middle Ages, in open dialogue with the disciplines of architectural history and medievalism studies. By reading the urban festivities staged in the capital as a strategically orchestrated political act, this article assesses the medievalist initiatives, culminating in the spectacle on the river Po, as propagandistic vehicles to convey meaning to a vast public, which underscore the role of medievalist rhetoric in challenging the dominant classicist iconography and forging the 'identity' of the modern Sabaudian nation.

Bering reviews Edvard Munch: Behind the Scream by Sue Prideaux.