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Recent work in ancient art history has sought to move beyond formalist interpretations of works of art to a concern to understand ancient images in terms of a broader cultural, political, and historical context. In the study of late Republican portraiture, traditional explanations of the origins of verism in terms of antecedent influences — Hellenistic realism, Egyptian realism, ancestral imagines — have been replaced by a concern to interpret portraits as signs functioning in a determinate historical and political context which serves to explain their particular visual patterning. In this paper I argue that, whilst these new perspectives have considerably enhanced our understanding of the forms and meanings of late Republican portraits, they are still flawed by a failure to establish a clear conception of the social functions of art. I develop an account of portraits which shifts the interpretative emphasis from art as object to art as a medium of socio-cultural action. Such a shift in analytic perspective places art firmly at the centre of our understanding of ancient societies, by snowing that art is not merely a social product or a symbol of power relationships, but also serves to construct relationships of power and solidarity in a way in which other cultural forms cannot, and thereby transforms those relationships with determinate consequences

After the reconquest of Sigüenza in 1124, St. Librada became the town's patron saint. Legend has it that she was born out of a múltiple delivery and that, because of her christian faith, her father had her die together with her eight sisters. On the iconography of her martyrdom, one of the representations is that of the crucified «strong virgin»; the other, more conventional, is on a plateresque altarpiece which honors her memory in Sigüenza's cathedral, a donation by a bishop close to Charles V. Behind these representations lies the complex relationship among the saint, the town's inhabitants, the church and, beginning from the l6th century, the state. St. Librada was then associated with Hercules, Charles V's favorite hero, in the defense of the sovereign's political interests. ; Reconquistada Sigüenza en 1124, Santa Librada se constituye en patrona de la ciudad. La leyenda la hace renacer de un parto múltiple y morir con sus ocho hermanas, por voluntad de su padre, por ser cristiana. Dos son las iconografías existentes de su martirio, una es la de «virgen fuerte» crucificada, la otra con la palma; y un retablo plateresco, donación de un prelado próximo a Carlos V, celebra su memoria en la catedral seguntina. Detrás de estas representaciones, se adivina la compleja relación entre la protectora, los habitantes de la ciudad, la Iglesia y, a partir de comienzos del siglo XVI, el Estado. Santa Librada fue entonces relacionada con Hércules, el héroe predilecto de Carlos V, en defensa de los intereses políticos del soberano.

After the reconquest of Sigüenza in 1124, St. Librada became the town's patron saint. Legend has it that she was born out of a múltiple delivery and that, because of her christian faith, her father had her die together with her eight sisters. On the iconography of her martyrdom, one of the representations is that of the crucified «strong virgin»; the other, more conventional, is on a plateresque altarpiece which honors her memory in Sigüenza's cathedral, a donation by a bishop close to Charles V. Behind these representations lies the complex relationship among the saint, the town's inhabitants, the church and, beginning from the l6th century, the state. St. Librada was then associated with Hercules, Charles V's favorite hero, in the defense of the sovereign's political interests. ; Reconquistada Sigüenza en 1124, Santa Librada se constituye en patrona de la ciudad. La leyenda la hace renacer de un parto múltiple y morir con sus ocho hermanas, por voluntad de su padre, por ser cristiana. Dos son las iconografías existentes de su martirio, una es la de «virgen fuerte» crucificada, la otra con la palma; y un retablo plateresco, donación de un prelado próximo a Carlos V, celebra su memoria en la catedral seguntina. Detrás de estas representaciones, se adivina la compleja relación entre la protectora, los habitantes de la ciudad, la Iglesia y, a partir de comienzos del siglo XVI, el Estado. Santa Librada fue entonces relacionada con Hércules, el héroe predilecto de Carlos V, en defensa de los intereses políticos del soberano.

Digitised version produced by the EUI Library and made available online in 2020.

The miniature size of Gozo with the consequential financial, social and cultural limitations of an isolated, and often impoverished, community of farmers and herdsmen, sailors and fisherman do not, prima facie, seem to give much scope to the study of patterns of artistic patronage. The wealth of buildings and works of art that the island posses comes, therefore, as a surprise to both social anthropologist and art historian. The natural temptation is to seek the answer to this perplexing situation in the cultivated aesthetic values of an enlightened government and ecclesiastical establishment which realised the political, and religious, advantages of a sound cultural programme. This, however, is only partially correct, and without, in any way, detracting from the importance of state and church support for the visual arts, it is important to emphasis that impressive churches were also built and valuable works of art commissioned as a result of humbler patronage patterns that were often of the collective type and sometimes came from quite unexpected quarters. This paper will focus on the artistic heritage of Gozo in terms of paintings but it should be stressed that the Gozitan artistic patrimony includes also sculpture and architecture. ; peer-reviewed

Background: The Hong Kong government has proposed legislation for smoke-free policies in all restaurants and bars. This is opposed by certain sections of the catering industry. Objective: To assess public opinion on smoke-free restaurants and to estimate changes in patronage. Design: A population based, cross sectional random digit dialling telephone survey conducted from November 1999 to January 2000. Setting and participants: 1077 randomly selected subjects age 15 years or over (response fraction of 81.6%). Results: 68.9% (95% confidence interval (Cl) 66.2% to 71.7%) supported a totally smoke-free policy in restaurants. Experiences of discomfort or symptoms from second hand smoke in restaurants were common. The majority (77.2%, 95% Cl 74.7% to 79.7%) anticipated no change in their frequency of use of restaurants after a smoke-free policy. Increased use was predicted by 1 9.7% (95% Cl 17.3% to 22.1%) of respondents, whereas 3.2% [95% Cl 2.2% to 4.4%) stated that they would dine out less often. In multivariate analyses, non-smokers (adjusted odds ratio (OR) 4.9), people who ate three times or less per week in restaurants as compared to those who ate >10 times per week (OR 2.1), those who had previous experience of discomfort from exposure to passive smoking in restaurants (OR 2.8), or who had avoided restaurants in the past because of smoking (OR 1.9), were more likely to support a totally smoke-free policy in restaurants. Smoke-free policies do not appear to have an adverse effect on restaurants, and may increase business by a considerable margin. Conclusion: This comprehensive survey - the first in Asia - shows strong community support for smoke-free dining and predicts an overall increase in the patronage of restaurants after the introduction of legislation for totally smoke-free restaurants. ; published_or_final_version

Metadata only record ; This article examines the ways in which family planning program personnel in Nigeria appropriate population program resources and models of social change to suit local priorities. The family planning project discussed here was manipulated by local officials as an instrument of patronage in a manner that exemplified the benefits of having strong and reliable kinship networks. The article explains the "corruption" that characterizes donor-funded projects by situating the actions of project personnel in the context of local political economy and culture. The phenomenon of training workshops is examined to show how these workshops satisfy simultaneously the competing priorities of donors and local participants.

Background: The Hong Kong government has proposed legislation for smoke-free policies in all restaurants and bars. This is opposed by certain sections of the catering industry.

first draft ; International audience ; From the turn of this century, the best studies about any form of art have been generally based on the similar notion. What is shared in all these works is not very controversial notion that in order to understand better the style and the meaning of any work of art, one may learn a lot by analysing in detail how it expresses the social and cultural background, the economic, political and economic interests or even the more individual expectation of its patrons and audiences. This is certainly the methodological approach used by some of the best art historians such as Aby Warburg, Michael Baxandall, Svetlana Alpers or, Salvatore Settis. But it also characterizes the works of historians such as Carlo Ginzburg or Simon Schamma, and sociologists of art such as Pierre Bourdieu. Now, it may sound a bit embarrassing to mention such references in introduction to a paper, which is dedicated essentially to the study of the first decades of documentary film making in the British Empire and in India. It is not so much that documentary films should not be regarded as art. Lenin or Goebbels were not alone in considering cinema to be the art of the twentieth century; and as far as the documentary tradition is concerned, there were many who considered it one of the most creative aspects of film making in these years. No, the problem lies elsewhere: in the fact that the social dimension of it seems so intrinsic to documentary film that one might wonder whether focusing on it from an anthropological perspective can possibly yield any new perspective. One should certainly not deny the merit of someone like Bourdieu when he feels the necessity of demystifying idealist conceptions of art; but neither is one surprised that his demonstrations are mostly based on the his study of art and literature of very specific circles of the French intelligentsia at the end of the nineteenth century. Personally, I have never been entirely convinced that the notion of 'art for art sake' was ever as dominating ...

first draft ; International audience ; From the turn of this century, the best studies about any form of art have been generally based on the similar notion. What is shared in all these works is not very controversial notion that in order to understand better the style and the meaning of any work of art, one may learn a lot by analysing in detail how it expresses the social and cultural background, the economic, political and economic interests or even the more individual expectation of its patrons and audiences. This is certainly the methodological approach used by some of the best art historians such as Aby Warburg, Michael Baxandall, Svetlana Alpers or, Salvatore Settis. But it also characterizes the works of historians such as Carlo Ginzburg or Simon Schamma, and sociologists of art such as Pierre Bourdieu. Now, it may sound a bit embarrassing to mention such references in introduction to a paper, which is dedicated essentially to the study of the first decades of documentary film making in the British Empire and in India. It is not so much that documentary films should not be regarded as art. Lenin or Goebbels were not alone in considering cinema to be the art of the twentieth century; and as far as the documentary tradition is concerned, there were many who considered it one of the most creative aspects of film making in these years. No, the problem lies elsewhere: in the fact that the social dimension of it seems so intrinsic to documentary film that one might wonder whether focusing on it from an anthropological perspective can possibly yield any new perspective. One should certainly not deny the merit of someone like Bourdieu when he feels the necessity of demystifying idealist conceptions of art; but neither is one surprised that his demonstrations are mostly based on the his study of art and literature of very specific circles of the French intelligentsia at the end of the nineteenth century. Personally, I have never been entirely convinced that the notion of 'art for art sake' was ever as dominating ...

first draft ; International audience ; From the turn of this century, the best studies about any form of art have been generally based on the similar notion. What is shared in all these works is not very controversial notion that in order to understand better the style and the meaning of any work of art, one may learn a lot by analysing in detail how it expresses the social and cultural background, the economic, political and economic interests or even the more individual expectation of its patrons and audiences. This is certainly the methodological approach used by some of the best art historians such as Aby Warburg, Michael Baxandall, Svetlana Alpers or, Salvatore Settis. But it also characterizes the works of historians such as Carlo Ginzburg or Simon Schamma, and sociologists of art such as Pierre Bourdieu. Now, it may sound a bit embarrassing to mention such references in introduction to a paper, which is dedicated essentially to the study of the first decades of documentary film making in the British Empire and in India. It is not so much that documentary films should not be regarded as art. Lenin or Goebbels were not alone in considering cinema to be the art of the twentieth century; and as far as the documentary tradition is concerned, there were many who considered it one of the most creative aspects of film making in these years. No, the problem lies elsewhere: in the fact that the social dimension of it seems so intrinsic to documentary film that one might wonder whether focusing on it from an anthropological perspective can possibly yield any new perspective. One should certainly not deny the merit of someone like Bourdieu when he feels the necessity of demystifying idealist conceptions of art; but neither is one surprised that his demonstrations are mostly based on the his study of art and literature of very specific circles of the French intelligentsia at the end of the nineteenth century. Personally, I have never been entirely convinced that the notion of 'art for art sake' was ever as dominating ...

During the long process that represented for Spain the attainment of the universal patronage -more than two centuries- the years between 1738 and 1746 appear as an interesting moment in that negotiation. During this time the government of Felipe V, and with the special intervention of the cardinal Molina, presented their demands to the pontiffs Clement XII and Benedicto XIV, which constituted the foreword of the Concordat in 1753. ; En el largo proceso que representó para España la consecución del patronato universal -más de dos siglos- los años comprendidos entre 1738 y 1746 aparecen como un interesante momento negociador. Durante este tiempo el equipo de gobierno de Felipe V, y con la especial intervención del cardenal Molina, presentaron sus demandas a los pontífices Clemente XII y Benedicto XIV, que constituyeron el prólogo del Concordato de 1753.

En el largo proceso que representó para España la consecución del patronato universal -más de dos siglos- los años comprendidos entre 1738 y 1746 aparecen como un interesante momento negociador. Durante este tiempo el equipo de gobierno de Felipe V, y con la especial intervención del cardenal Molina, presentaron sus demandas a los pontífices Clemente XII y Benedicto XIV, que constituyeron el prólogo del Concordato de 1753. ; During the long process that represented for Spain the attainment of the universal patronage -more than two centuries- the years between 1738 and 1746 appear as an interesting moment in that negotiation. During this time the government of Felipe V, and with the special intervention of the cardinal Molina, presented their demands to the pontiffs Clement XII and Benedicto XIV, which constituted the foreword of the Concordat in 1753.

Digitised version produced by the EUI Library and made available online in 2020.

"H.A.S.C. no. 102-68." ; Shipping list no.: 93-0182-P. ; Distributed to some depository libraries in microfiche. ; Mode of access: Internet.