1,002 research outputs found
The open method of coordination – effectively preventing welfare state retrenchment?
No full textThis article re-examines the division between "optimists" and "pessimists" within the literature on the Open Method of Coordination’s (OMC) effectiveness. Each of those "camps" tends to focus on a different question. "Optimists" are more concerned with the question of whether the OMC exerts an influence on the national level and through which mechanisms, whilst "pessimists" concentrate on the question of whether the OMC can "strengthen" EU social policy and therefore European welfare states. This article combines these two perspectives and argues that the OMC is indeed capable of influencing national policies through the dissemination of ideas and "learning" as the "optimists" stress. However, policy "learning" at the member state level is shaped and constrained by a variety of internal and external pressures. Against the hopes of most of the OMC "optimists", this makes the OMC largely ineffective in preventing welfare state retrenchme
How legitimate is the open method of coordination?
Full text linkThis article argues that the OMC's legitimacy can be improved only by strengthening parliamentary channels of input-legitimacy since output-legitimacy alone is inappropriate and cannot be achieved without input-legitimacy. In addition, concepts and practices of direct 'stakeholder' participation currently applied within the OMC are insufficient in strengthening input-legitimacy
Diario veneziano e altri racconti: la rubrica di Milena Milani sul quotidiano La Stampa. Con un affondo sul Premio Strega
Full text linkThis essay offers a thematic reading of some short stories appeared in the
column that Milena Milani held in the daily newspaper La Stampa (Stampa Sera) from
1950 to 1964. In her texts, Venice is one of the cities of her youth, where to discover the
everyday but also herself as a writer, a profession that will identify her spirit in life. My
research also aims to highlight a brief catalogue of Milani’s short stories between the
forties and the sixties that could be read in her books and in newspapers and magazines
of that period. In the end, I also offer a list of her books in Italian Archives and author
Funds connected to the Premio Strega: she wanted to participate to the prize in 1947
and then succeeded in 1954 and in 1964.This essay offers a thematic reading of some short stories appeared in the
column that Milena Milani held in the daily newspaper La Stampa (Stampa Sera) from 1950 to 1964. In her texts, Venice is one of the cities of her youth, where to discover the everyday but also herself as a writer, a profession that will identify her spirit in life. My research also aims to highlight a brief catalogue of Milani’s short stories between the 40s and the 60s that could be read in her books and in newspapers and magazines of that period. In the end, I also offer a list of her books in Italian Archives and author Funds connected to the Premio Strega: she wanted to participate to the prize in 1947 and then succeeded in 1954 and in 1964
Observatorio de bibliometría y cienciometría USTA. Ficha bibliométrica. Autor: Janneth Milena Pacheco Baquero
No full textInforme de las métricas de autor de la Dra. Janneth Milena Pacheco Baquero de las
publicaciones indexadas en Google Académico cuyo objetivo es entregar un insumo
para el fortalecimiento de las capacidades y potencialidades de los autores de la
Universidad Santo Tomás en el posicionamiento y visibilidad de sus publicaciones.Report of the author metrics of Janneth Milena Pacheco Baquero of the publications
indexed in Google Scholar whose objective is to provide an input for the
strengthening of the capacities and potentialities of the authors of the Santo Tomás
University in the positioning and visibility of their publications.http://unidadinvestigacion.usta.edu.c
Milena Jesenská and her work for Lidové noviny and Přítomnost
No full textThe thesis deals with the journalistic works of Milena Jesenská not only in Lidové noviny but also in the magazine Přítomnost in 1929 - 1930, resp. in 1937 - 1939. In her works we can find a number of repetitive topics. Most of them have in large part roots in her life. Her literaty output is permanently penetrated by her permanent need to help her surroundings and to protect her weaker residents, which is according to author's biographers for Milena Jesenská sheer crucial. The author stood in the years 1929 - 1930 as the head of women's section of Lidové noviny and was trying very hardly to fight for the change of the form of this section in the print at that time. Another significant topic was the issue of a modern woman and her role in the society at that time. The thesis deals also with the resonance of social relations and historic events in the examined texts. Politically tuned reflections or reports and reportage by Milena Jesenská in the magazine Přítomnost bring an authentic perspective to the atmosphere in the Czechoslovak society at that time
Milena Marković's plays Пьесы Милены Маркович
No full textСажетак: Предмет истраживања је драмски опус Милене Марковић. Дисертацијом је обухваћен целокупан досадашњи драмски корпус Милене Марковић, укупно десет објављених драма (од Павиљони до Ливада пуна таме). Поред драмских дела, анализом је обухваћен и поетски опус ауторке у оном смислу у којем кореспондира (тематски и идејно) са наведеним драмама. Такође, успостављене су и везе са текстовима који се налазе у подтексту драме Наход Симеон, уз осврт на митске и архетипске одреднице присутне у свим драмама. Научно истраживање се фокусира на структуралне, али и на тематске одлике драмског опуса Милене Марковић, те се бави како драмским елементима читаним и постављеним у постдрамском кључу, тако и проблемским питањима која извиру из драмских текстова. Проучавања су вршена и са освртом на социологију уметности, на филозофске проблеме питања зла и слободе, те међуљудских односа, питања моћи, идентитета, потом на теорију рода и места трагичког, односно комичког дискурса у постмодерном свету. Циљ истраживања је био да се проникне у драматуршку поетику Милене Марковић, са резултатом у виду прве монографије о драмском делу ауторке. У тематским и проблемским оквирима драмских текстова, препознати су простори универзалних, архетипских, симболичких и семантичких вредности, преко којих се може претендовати достизање целине људског искуства, његове репрезентативности која се очитује у активирању универзалних митских значења и општељудских вредности. Истраживање је донело један свеукупни приказ драматуршких особености дела Милене Марковић, као и приказ статуса њеног дела у оквиру историје српског драмског стваралаштва. Приликом истраживања служили смо се различитим методама, херменеутичком, биографском (нови позитивизам), социолошком, затим текстолошком, компаративном, структуролошком.Abstract: The subject of the research is Milena Marković's dramatic oeuvre. The dissertation covers the 10 dramas published by Milena Marković to date (from Paviljoni to Livada puna tame). In addition to her dramas, the analysis covers the poetic works of the author in the sense in which it corresponds (thematically and conceptually) with her dramas. Furthermore, a relation was established with the texts found in the subtext of the play Nahod Simeon, with reference to the mythical and archetypal determinants present in all plays. Scientific research focuses on the structural, as well as on the thematic features of Milena Marković's dramatic oeuvre, and deals with both dramatic elements read and set in a post-dramatic key, as well as problematic issues arising from dramatic texts. The research was also carried out with reference to the sociology of art, to the philosophical problems of evil and freedom, interpersonal relations, issues of power, identity, then to gender theory and the place of tragic and comic discourse in the postmodern world. The goal of the research was to delve into Milena Marković's dramatic poetics, with the result being the first monograph on the author's dramatic work. Universal, archetypal, symbolic and semantic values are recognized in the thematic and problematic frameworks of dramatic texts, through which one can aspire to reach the entirety of human experience, its representativeness, which is manifested in the activation of universal mythical meanings and universal human values. The research compiled a comprehensive presentation of the dramaturgical peculiarities of the work of Milena Marković, as well as a presentation of the status of her work within the history of Serbian drama. Different methods were used during this research – hermeneutic, biographical (new positivism), sociological, textological, comparative, and structural
«Parole soltanto/ vorrei»: Milena Milani traduttrice
No full textThe essay investigates the meaning of translation in the work of the Italian writer and visual artist Milena Milani (1917-2013), who translated from French into Italian between 1944 and 1964. It was a period of intense cultural activity for the author, who was the partner of the gallery owner Carlo Cardazzo, founder of the Cavallino publishing house. The essay focuses on the relationship between the author’s translations and her artistic production, highlighting how the former influenced the latter, especially in relation to the translations of Georges Gabory's work. In particular, the article focuses on the translations of works by Wassily Kandinsky and Joan Mirò, which are particularly significant both for the author’s artistic and biographical experience
«Vorrei diventare una scrittrice importante» L’esordio romanzesco di Milena Milani
No full textThe Storia di Anna Drei (1947) is analysed through a double level of reading inside the story that makes a good job of shedding light on the imaginary of the author, Milena Milani. On the one hand, there are retraced the stages of the conception of her first novel, as the writer recalled them in her autobiographical texts, in relation to the setting (Rome) she described in the novel she wrote in Venice and to the building, through her pages, of her figure as a writer. On the other hand, the story of the first edition of the novel, published in the series “Medusa degli italiani”, is investigated, following her participation in the Mondadori Prize, with which the publishing house had intended to open and renew its catalogue after the Second World War
Woman drama and (male) society. The status of a woman in society and art in the case of dramas by Milena Marković, Maja Pelević and milena
No full textSummary
WOMAN DRAMA AND (MALE) SOCIETY. THE STATUS OF A WOMAN IN SOCIETY AND ART IN THE CASE OF DRAMAS BY MILENA MARKOVIĆ, MAJA PELEVIĆ AND MILENA BOGAVAC
Status of female characters, even though not interpreted as a reflection of social reality, seeks to examine the relationship between factuality and fiction. Female characters and the world of drama are aesthetic transformation of the author, but with the strong influence of what is happening in the "real" world. Three authors, Milena Marković ("Pavilions, or Where I Am Going, Where I Come from and What’s for Dinner", "God Had Mercy on Us – Tracks" and "The Doll Ship"), Maja Pelević ("Out of Gear", "Children in Formalin", "Orange Peel" and "Maybe We Are Mickey Mouse") and Milena Bogavac ("Dear Daddy", "Tdz or A First Three Pointer" and "Red, Sex and Consequences"), on the one hand, they form the specific female characters who are often victims of the system in which they are, on the other hand, the heroine in their works can be free and self-conscious despite the system. The worlds of these authors are designed according to stereotypes, patriarchal law and are based on the gender issue, and as such represent a significant material for interpretation of the position of female characters.
This paper attempts to, by analysis of the characters and their discourse, map their most striking elements which will then be interpreted with the help of relevant terms operated by feminism and woman anthropology. The aim of this study is to indicate how stereotyping, phallocentrism, androcentrism, patrocentrizam work in the field of drama, and to examine the reasons why the author decided for certain identity such as the identity of butch woman, woman as a sexual object or women-lovers. Also, one of the questions is why the identities of women that are desirable from the perspective of patriarchy are more numerous, while the identities of emancipated women occur rarely and appear to be insufficient.
When taking the subject of female characters of female drama writers, there is the possibility to carry out an investigation, including a female perspective – perspective which is undeniably important for feminist theories and women's studies.
In the final consideration, it is noticed that the new female identities are only actualization of existing women's identities registered in the chapter concerning the tradition of female identity in Serbian drama during the first half of the 19th century to the 80s of the twentieth century. Also, it is identified that identities are mutually interwoven which confirms the idea of identity categories performativity. Finally, the paper proved the hypothesis that androcentrism is present in the analyzed dramas as an indication of the repressive situation of female characters in relation to the position of men, which confirms that with the dramas by Milena Marković, Maja Pelević and Milena Bogavac we can identify the characteristics of male society in which the status of female characters is mostly the result of the dominant (male) order.APSTRAKT
Status ženskih likova, iako ne možemo tumačiti kao refleksiju društvene stvarnosti, nastoji da ispita vezu između faktualnosti i fikcije. Ženski likovi i svet drame predstavljaju estetsko preoblikovanje dramskih autorki, ali sa snažnim uticajem onoga što se dešava u „stvarnom“ svetu. Tri autorke, Milena Marković („Paviljoni ili kuda idem, odakle dolazim i šta ima za večeru“, „Bog nas pogledao ili Šine“ i „Brod za lutke“), Maja Pelević („Ler“, „Deca u formalinu“, „Pomorandžina kora“ i „Možda smo mi Miki Maus“) i Milena Bogavac („Dragi tata“, „Tdž ili prva trojka“ i „Crvena, sex i posledice“), s jedne strane oblikuju specifične ženske likove koji su neretko žrtve sistema u kojem se nalaze, a sa druge strane, junakinje u njihovim komadima mogu biti slobodne i samosvesne uprkos sistemu. Svetovi ovih autorki su oblikovani prema stereotipima, patrijarhalnom zakonu i počivaju na polnoj problematici, i kao takvi čine značajan materijal za tumačenje položaja ženskih likova.
Ovaj rad nastoji da analizom likova i njihovog diskursa mapira njihove najmarkantnije elemente koje će potom tumačiti uz pomoć relevantnih pojmova kojima operira feminizam i antropologija žene. Zadatak ovog rada je da uvidi kako stereotipizacija, falocentrizam, androcentrizam, patrocentrizam funkcionišu na planu drame, te da ispita razloge zbog kojih su se autorke odlučile za određene identitete kao što su identitet butch žene, žene kao seksualnog objekta ili žene-ljubavnice. Takođe, jedno od pitanja je zašto su brojniji identiteti žena koje su poželjne iz pozicije patrijarhata, dok se identiteti emancipovanih žena javljaju retko i, čini se, nedovoljno.
Uzimajući za predmet istraživanja ženske likove ženskih dramskih pisca, stvara se mogućnost da istraživanje bude sprovedeno uključujući žensku perspektivu – perspektiva neosporno važna za feminističke teorije i ženske studije.
U završnom razmatranju uočeno je kako su novi ženski identiteti samo aktuelizacija postojećih ženskih identiteta registrovanih u poglavlju koje se tiče tradicije ženskih identiteta u srpskoj drami u periodu od prve polovine 19. veka do 80-ih godina XX veka. Takođe, identifikovano je kako se identiteti međusobno prelamaju i umrežavaju što je samo potvrda ideje o perfomativanosti kategorije identiteta. I na kraju, u radu se dokazala hipoteza da je u analiziranim dramama prisutna androcentričnost kao pokazatelj represivnog položaja ženskih likova u odnosu na položaj muških što potvrđuje kako na primeru drama Milene Marković, Maje Pelević i Milene Bogavac možemo prepoznati odlike muškog društva u kojem je status ženskih likova pretežno rezultat vladajućeg (muškog) poretka
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