This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.

La tesi consiste in uno studio monografico aggiornato, il primo in lingua italiana, dedicato allo scultore bavarese Hans Reichle, che fu un abile interprete della Maniera fiorentina al di là e al di qua delle Alpi. Il bavarese frequentò la bottega di Giambologna dal 1587 c. al 1594, anni di intenso studio durante i quali gettò le basi sulle quali costruì il successo di una vita: la memoria degli anni fiorentini e l’influenza del maestro si percepiscono in tutte le opere del catalogo del bavarese, dagli esordi fino alla piena maturità. La tesi è dedicata interamente all’esame della vita e dell’attività dello scultore. Inizialmente si ripercorre la biografia di Reichle, esaminando le opere realizzate nel corso della vita e il prestigio che queste guadagnarono. In questa prima parte emerge l’evoluzione del linguaggio dello scultore e, in particolare, il suo cimentarsi con tecniche che finora gli studi non avevano ammesso nel catalogo: si tratta di importanti novità che gettano luce su aspetti del tutto inediti della carriera dello scultore. Invece nella seconda parte della tesi si discutono alcuni casi-studio relativi alle imprese principali di Reichle. Un capitolo è poi dedicato all’eredità lasciata dallo scultore in Tirolo e agli allievi e collaboratori che affiancarono Reichle nel corso della sua vita. Le ultime due parti della tesi sono dedicate all’esame dell’inventario inedito del bavarese - che ha portato alla luce significative novità relative tanto alla biografia quanto alla sua attività - al catalogo delle opere di Reichle e dei suoi allievi, e infine all'appendice documentaria.

No description available.

This thesis examines Lorenzo Monaco's altarpiece the Man of Sorrows with the Virgin, St. John the Evangelist, with the Emblems and Episodes of the Passion, (c. 1404) under historical, religious, political, and liturgical rubrics. While comparing various depictions of the Man of Sorrows, this project places Lorenzo Monaco's unique interpretation within the context of events surrounding the painting's conception and realization. With particular attention to Lorenzo's distinctive composition, techniques and juxtaposition of imagery, this study shows that his Man of Sorrows in fact conveys a complex message about Florentine society in Late Gothic times.

Freiburg i. Br., Univ., Diss., 2007.

No description available.

In my thesis, I focus on the role of an author in a work of art, and film in particular, based on Jan Mukařovský. Firstly, I describe Mukařovský's structuralist concept of an art work. Thus, following Ferdinand de Saussure's ideas, he views a work of art as an autonomous sign. At the same time, he uses de Saussure's terms langue and parole. In this text, I explain Mukařovský's terms of an aesthetic function, a norm and a value. I also examine the difference between an individual and a subject of art, and between intentionality and unintentionality. I compare Mukařovský's view of the author with other theorists, namely, Umberto Eco, Roland Barthes and Michael Foucault. Hence, I show historical changes within the concept of the author, and also explain Pierre Levy's cyber-cultural understanding of it. In addition, I discuss other authors, who bring together film arts and the interplay of signs. In particular, I introduce James Monaco and Jerzy Plaževski, and connect their thoughts with ideas of Mukařovský. These authors create a bridge between the concept of a film author and Mukařovský, who does not discuss this authorship in particular. The focus here is on Jaroslav Vančát's theory of a multi-layered film, examining three layers of film with different authors. Focusing on films with actual actors,...

Compliance organization and compliance function must constantly evolve and be adaptable, both through further development within the company and changes in the political and legal situations in which companies operate. In this issue, we kick off with a piece of thought in which Michele DeStefano (Content Curator) engages with experts from compliance practice, including Markus Endres (Advisory Board CEJ) on the question: What role can and should compliance play in digital transformation in the enterprise? From a legal perspective, it is clear that determining the 'role' of compliance is exceedingly relevant, if only because of liability. Furthermore, our authors in this issue deal with the 'Monaco Memo' and its significance for antitrust investigation in the USA and with the continuing relevant topic of sanctions compliance. In addition, our authors from Austria and Liechtenstein describe the implementation of an effective compliance management system in the company and the Compliance Officer’s duty to monitor.

This text uses a semiotic psychoanalytical framework to analyze season two of The White Lotus. This text examines the significance of the artwork of the show and applies Lacan’s mirror theory to the series’ artwork and the character Ethan. This thesis posits that the artwork is edited to accomplish the following: 1) to act as a metaphorical mirror for Ethan (a component of mise en scéne) 2) to heighten the series’ cultural appeal 3) to surveil the hotel guests and 4) to foreshadow future events.

The Monaco shore extention project consists of few housing resorts, floating breakwater, commertial zones and a harbour. The largest and most complex is the Skyscraper resort on an artificial semifloating island in the middle of a lagoon between the shore and the floating breakwater. Its main purpose is housing which is situated to several floors of the base ring, to the white wings protruding from the skyscraper and to the skyscraper itself. There is also a hotel for 500 visitors in this structure as well as the visitors center, observation platform, technical support, wellness and fit centrum. The resort is accesible via two main connecting streets – one going from the Hercule harbour, second comming to the resort from the main Monaco roundabout next to the Fairmont hotel. Traffic is than in front of the skyscraper redirected either to the hotel frontyard or to the underground parking wings for visitors, or to the parking zones for residents or to the supply zones. Other functions the resort offers are 2 commertial promenades on the gound and 2np floors accesible from the perimetr of the island’s harbour, other commertial zone is more to the the middle of the island, where the visitor, cultural, wellness and restaurant centers are also situated. The cultural multipurpose center accompanies cinema, theater and exhibition features as well as the School of fine arts. For the residents themselves the resort features several facilities – endless swimming pool, the chapel, relaxation pools, 2 parks and all the facilities accessible also for visitors. The island is constructed as semifloating – partly supperted by large piles and coissons, partly floating. Energetic selfsufficience is provided by desaltation plant, solar fotovoltaic plant, energetic piles and gray water treatment plant.