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Gennem samarbejdet i Nordisk Ministerråd har de nordiske lande siden oprettelsen i 1971 opnået mange væsentlige resultater til gavn for borgerne i Norden. Det nordiske samarbejde må imidlertid være i fortsat fornyelse for at sikre, at samarbejdet på langt sigt forbliver et stærkt redskab for de nordiske regeringer til at håndtere politiske udfordringer. På baggrund af mandat fra den nordiske samarbejdskomité, NSK, fremlagte Nordisk Ministerråds generalsekretær i april 2014 rapporten Nyt Norden, som indeholder en række anbefalinger til de nordiske samarbejdsministre med det formål • At styrke det nordiske samarbejde på ministerniveau, så der bliver mere politisk indhold • At sikre et effektivt sekretariat som støtter op om det politiske samarbejde • At skabe et nyt nordisk budget som er et reelt styrings- og prioriteringsredskab • At få mere nordisk nytte ud af Ministerrådets projekt- og programvirksomhed • At sikre en bedre styring af de nordiske institutioner. Samarbejdsministrene behandlede Nyt Norden rapportens anbefalinger den 26. juni 2014 og vedtog på den baggrund en ambitiøs reformpakke, som skal sikre, at samarbejdet i Nordisk Ministerråd forbliver et stærkt og relevant redskab for de nordiske regeringer i mødet med nye politiske udfordringer. Dette genoptryk af Nyt Norden rapporten indeholder samarbejdsministrenes reformpakke og gør det dermed muligt at se anbefalingerne og baggrunden for disse sammen med samarbejdsministrenes beslutninger.
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What is the night? How can we define it and mark its edges? The gaze of those observing it is more or less mobile; does the night maintain its function as a frame? How does the difficulty to see clearly favour the artistic invention, the wondering on the infinite and death, the questions on the imaginary, the dream, the memory and the oblivion? Anna Dolfi started from questions like these in devising a book of great novelty and suggestion which, between nocturnes and music, wonders how literature, painting, cinema, opera, popular traditions and songs have narrated about blindness and vision, obsession and fear, or said nights were "tender", desperate, sublime, mysterious and mystical, told about nights of 'sickness', of repairing nights, white nights and sleepless nights, when the attempt is to resist while creating in order to challenge the breaking of dawn. The icon of Mozart's Queen of night, together with that of Schönberg's Pierrot, has accompanied about fifty Italian and foreign scholars and young researchers in an almost backlit way; they started from the 18th century and from Ossian's songs, continuing along a European night-themed path supported by theorists (Nietzsche, Bachelard, Jankélévitch ...) and music (Mozart, Chopin, Schubert, Schumann, Fauré, Debussy, Britten ...), and have worked on Novalis, Hölderlin, German Romanticism, Rilke, Celan, Müller, Hugo, Chenier, Baudelaire , Proust, Cocteau, Bonnefoy and many others, declining the Italian nocturnes from the graveyard elegies of Pindemonte to Leopardi, Di Giacomo, D'Annunzio, Onofri, Campana, Saba, Ungaretti, Sbarbaro, Montale, Penna, Pavese, Gatto, Caproni, Luzi, Bigongiari , Fortini, Jacobbi, Ripellino, Pasolini, Giudici, Rosselli, Sanguineti, De Signoribus, la Anedda, Magrelli and such. The work opens with unpublished Portuguese texts by Ruggero Jacobbi, and with verses and translations of De Signoribus and Vegliante. Starting with Donizetti's night, the volume comes to the night of different Italian singers and songwriters (De Gregori, Dalla and more), pushing the limit of electric nocturnes which, through poetry, reveal the urban glimpses of a tormented society between the end of the century and the beginning of the millennium.
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"Anyone who studies the history of modern art?in art museums, in the classroom, in art historical handbooks or specialist surveys?will soon be aware of a certain recurrent pattern governing the selection of objects and forming a certain type of narrative where the history of modern art is presented as a variety of different -isms that dissolve into each other in the coherent sequence that constitutes the history of modern art as modernism. But why is this pattern so similar in all different places and contexts? Is it possible to distinguish between the history of modern art and the history of modernism? And if so, when, where and how did modernism become synonymous with art of the modern era?With a dual perspective?regarding art as well as the discursive perception of art?Modernism as an Institution attempts to answer these questions by studying the frameworks for the institutional establishment, as well as the historiography, of modern art."
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