La Casa Degli Angeli

In lieu of an abstract, below is the essay\u27s first paragraph. On September 2013 I moved from Rochester, NY to Thailand. It had been a long process of reflection and pondering on the direction my life was going, and finally I strongly felt that I would steer my life\u27s vessel towards the eastern part of our shrinking planet. I landed at the airport of Bangkok and moved immediately to a hotel. My first duty was to learn Thailand\u27s language needed to obtain a working license

Adam vetus tandem laetus novum promat canticum : Adán de San Víctor y la novedad del canto victorino en la lírica mariana medieval

La poesía latina del maestro Adán de San Víctor (ca.11121192), oriundo de Bretaña y canónigo agustino de la abadía parisina de SaintVictor, representa, en su ámbito y en su época, una novedad trascendente dentro de la lírica litúrgica y particularmente de la lírica mariana. La ductilidad rítmica y retórica del subgénero de la sequentia lograda en sus piezas hace de este autor un paradigma de la creación poética litúrgica en la Europa de los siglos XII y XIII. En este sentido, tanto la mención a su obra como la inclusión de sus sequentiae (junto con otras del mismo período y "estilo" gótico) en diversos manuscritos hispánicos, desde las Cantigas de Santa María hasta el ms. Alcobacense 149, permiten considerar la relevante influencia de esta refinada lírica del siglo XII en la confección de poemas y compilaciones marianas del siglo siguiente en la Península Ibérica.Fil: Disalvo, Santiago. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina

Plaster Cast Collections from the 1904 Louisiana Purchase Exposition in Context: Examining Culturally Determined Significance through Environment and Time

Through an exploration of the lives of two sets of classical plaster casts that began at the 1904 Louisiana Purchase Exposition in St. Louis, I will track how space, context, and time established the function, specific cultural meanings, and authenticity of these casts. Regardless of the fact that these collections began in a similar environment, they were adapted for different cultural uses and agendas and accrued multiple levels of cultural significance in their movements through different environments and through time.En examinant deux ensembles de moulages de plâtre classiques dont la vie a commencé lors de l’Exposition universelle de 1904 à Saint-Louis, je retracerai la manière dont l’espace, le contexte et le temps ont instauré la fonction, les significations culturelles particulières et l’authenticité de ces moulages. Indépendamment du fait que ces collections sont apparues dans un environnement similaire, elles ont été adaptées à différents usages culturels et intentions, et leurs mouvements dans différents environnements et à travers le temps leur ont fait acquérir de multiples niveaux de signification culturelle

Design as Democratic Inquiry

Through practices of collaborative imagination and making, or "doing design otherwise,” design experiments can contribute to keeping local democracies vibrant. In this counterpoint to the grand narratives of design punditry, Carl DiSalvo presents what he calls “doing design otherwise.” Arguing that democracy requires constant renewal and care, he shows how designers can supply novel contributions to local democracy by drawing together theory and practice, making and reflection. The relentless pursuit of innovation, uncritical embrace of the new and novel, and treatment of all things as design problems, says DiSalvo, can lead to cultural imperialism. In Design as Democratic Inquiry, he recounts a series of projects that exemplify engaged design in practice. These experiments in practice-based research are grounded in collaborations with communities and institutions. The projects DiSalvo describes took place from 2014 to 2019 in Atlanta. Rather than presume that government, industry—or academia—should determine the outcome, the designers began with the recognition that the residents and local organizations were already creative and resourceful. DiSalvo uses the projects to show how design might work as a mode of inquiry. Resisting heroic stories of design and innovation, he argues for embracing design as fragile, contingent, partial, and compromised. In particular, he explores how design might be leveraged to facilitate a more diverse civic imagination. A fundamental tenet of design is that the world is made, and therefore it could be made differently. A key concept is that democracy requires constant renewal and care. Thus, designing becomes a way to care, together, for our collective future

Let\u27s Dump the 1916 Antidumping Act: Why the 1994 GATT Provides Better Price Protection for U.S. Industries

The U.S. Congress is currently considering a vote to repeal the 1916 Antidumping Act. The 1916 Antidumping Act makes the importation of foreign goods that were sold below market prices illegal if the foreign company had the intent [to] destroy or injure an industry in the United States. Few claims have been adjudicated under the 1916 Act since its passage, and no plaintiff has won a case based solely on the 1916 Antidumping Act. Commentators reason that the strict intent requirement or the availability of remedies in other antitrust statutes has contributed to this phenomenon. Recently, there has been debate in the international trade community regarding the Act\u27s compatibility with multinational trade treaties of which the United States is a signatory. The World Trade Organization found the 1916 Act inconsistent with antidumping provisions in 1994 GATT, and its Appellate Body upheld those decisions. This Note discusses the history of the antidumping legislation and enforcement, the current international controversy surrounding the laws of the United States, and the costs and benefits of using international dispute resolution procedures to counteract foreign dumping in the United States if the 1916 Act is repealed

Hortus Deliciarum et Flos Spineti: el jardín y las flores de María, de la poesía litúrgica a la lírica hispánica medieval

El jardín de María es uno de los logros artísticos más refinados y elevados de la Europa medieval, con innumerables manifestaciones en la plástica, la poesía y la música. El tema se presenta aquí en tres breves pasos: el motivo de la Virgen como flor y la Virgen como jardín en algunas muestras de poesía litúrgica europea, un momento de confluencia entre el "locus amoenus" amatorio y el jardín mariano, y el jardín de María en la lírica hispánica medieval, de tipo litúrgico.Mary’s garden is one of the most refined and elevated artistic accomplishments in medieval Europe, with countless expressions in art, poetry, and music. The subject is presented here in three brief steps: the motif of the Virgin as a flower and the Virgin as a garden in some samples of European liturgical poetry, the possible confluence of locus amoenus love topic and the Marian garden, and Mary’s garden in the medieval Hispanic liturgical lyric.Fil: Disalvo, Santiago Anibal. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Saavedra 15. Instituto de Investigaciones Bibliográficas y Crítica Textual. Subsede "seminario Orduna"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Instituto de Investigaciones en Humanidades y Ciencias Sociales. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales; Argentin

A Medical Student Experience: Adding Value and Emotional Support to Patient Interactions

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