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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Pavle Bonča; Ana Marinković;

    Crtež dvojnog ljetnikovca Kaboga-Zec iz serije Diversa Cancellariae Državnog arhiva u Dubrovniku iz 1508. godine najraniji je sačuvani vizualni prikaz dubrovačke ladanjske arhitekture te donosi niz likovnih i tekstualnih podataka značajnih za razumijevanje njezina razvoja na prijelazu 15. i 16. stoljeća. Osim udvostručenog pročelja s gotičkom triforom i bočnim biforama, to se posebice odnosi na element ugaone lođe, poput lođa kakve se u simetričnom paru pojavljuju na pročeljima dvaju dubrovačkih ljetnikovaca kasnog 16. stoljeća (Sorgo-Natali i Mleci), dok je znatno ranija lođa ljetnikovca Kaboga-Zec oblikovno i funkcionalno donekle usporediva s bočnim “prohodnim” lođama ranoga 16. stoljeća. Srodnosti s objema vrstama lođa ukazuju na prijelazni oblik, odnosno na moguće najraniji primjer ugaone lođe u korpusu dubrovačke ladanjske arhitekture, a time i na lokalno podrijetlo ovoga arhitektonskog motiva.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Radovi Instituta za ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Radovi Instituta za Povijest Umjetnosti
    Article
    License: cc-by-nc-nd
    Data sources: UnpayWall
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Radovi Instituta za ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Radovi Instituta za Povijest Umjetnosti
      Article
      License: cc-by-nc-nd
      Data sources: UnpayWall
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Barbara Murovec;

    Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The role of personal iconography has been recognised mainly in his secular fresco commissions. This paper focuses on the analysis of the ceiling painting and furnishings of the pilgrimage church of the Holy Virgin at Zagorje near Pilštanj in Styria (Slovenia) and decodes the interweaving of Virgin (Madonna with Grapes, Assumpta, Regina Coeli, the Immaculate Conception), Holy Family, Holy Kinship and other saints worship with representations of the Attems family. In 1708 and 1709, the church was frescoed by Matthias von Görz, and in the following years, it obtained the main Virgin’ s altar and the altars of St Joseph and St Dismas in the lateral chapels. The Baroque decoration followed a unified iconographic concept in which the family memoria systematically builds on and complements the theological programme. Attems presented himself in the imitatio of the Holy Family, following the example of the Habsburg family.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Radovi Instituta za ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Radovi Instituta za Povijest Umjetnosti
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Radovi Instituta za ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Radovi Instituta za Povijest Umjetnosti
      Article
      License: cc-by-nc-nd
      Data sources: UnpayWall
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Federico Giusfredi; Valerio Pisaniello;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ IRIS - Università de...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.2307/j.ctv2...
    Part of book or chapter of book . 2021
    Data sources: Sygma; Crossref
    1
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ IRIS - Università de...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.2307/j.ctv2...
      Part of book or chapter of book . 2021
      Data sources: Sygma; Crossref
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Bogdan Živković;

    This paper analyzes the relations between the communist parties of Yugoslavia and Italy during 1956, one of the most important years of the history of communism. The dissenting nature of those relations, which were based on the mutual wish to limit the Soviet hegemony within the global communist movement, is in the focus of this analysis. Finally, this paper aims to demonstrate how the roots of the close friendship between the two parties during the sixties and seventies can be traced back to 1956, and how the Yugoslav communists influenced or tried to influence their Italian counterparts.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.3...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.31212/tokov...
    Article . 2021
    License: cc-by-nc-nd
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ https://doi.org/10.3...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.31212/tokov...
      Article . 2021
      License: cc-by-nc-nd
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Marisa Agostini; Ugo Sostero;

    This study considers the accountability practices implemented in the first schools of commerce to effectively communicate with stakeholders. Specifically, it analyses the initial system of accountability implemented by the first Italian higher school of commerce in the nineteenth century, with a particular focus on the use of cash and accrual methods. The microhistorical analysis draws on accountability and stakeholder theories and uses both primary and secondary information sources to investigate the original, hybrid approach adopted by the school, focusing on its dual accountability system. The results section explains the involvement of the government in establishing and recognising the school as a strategic asset for the entire kingdom, contradicting criticisms present in the extant literature; we also examine the innovative accountability process implemented by the school to satisfy the reporting needs of its salient stakeholders. The school was able to apply its accountability competences to implement a dual system, preserving its priorities as based on the relationships between its stakeholders’ needs (the old accountability system), educational skills (teaching the new accountability system) and the wider (national) implications resulting in an improvement of the entire accountability system.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Accounting Historyarrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Accounting Historyarrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Erica von Essen; Jonathon Turnbull; Adam Searle; Finn Arne Jørgensen; +2 Authors

    Digital surveillance technologies enable a range of publics to observe the private lives of wild animals. Publics can now encounter wildlife from their smartphones, home computers, and other digital devices. These technologies generate public-wildlife relations that produce digital intimacy, but also summon wildlife into relations of care, commodification, and control. Via three case studies, this paper examines the biopolitical implications of such technologically mediated human-animal relations, which are becoming increasingly common and complex in the Digital Anthropocene. Each of our case studies involves a different biopolitical rationale deployed by a scientific-managerial regime: (1) clampdown (wild boar); (2) care (golden eagle); and (3) control (moose). Each of these modalities of biopower, however, is entangled with the other, inaugurating complex relations between publics, scientists, and wildlife. We show how digital technologies can predetermine certain representations of wildlife by encouraging particular gazes, which can have negative repercussions for public-wildlife relations in both digital and offline spaces. However, there remains work to be done to understand the positive public-wildlife relations inaugurated by digital mediation. Here, departing from much extant literature on digital human-animal relations, we highlight some of these positive potentials, notably: voice, immediacy, and agency.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Brage INNarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Brage INN
    Article . 2022
    Data sources: Brage INN
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    4
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Brage INNarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Brage INN
      Article . 2022
      Data sources: Brage INN
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Federico Stella;

    El artículo versa sobre una versión latina desconocida del miʿrāǧ que el autor ha descubierto en el Archivo de la Pontificia Universidad Gregoriana dentro de un opúsculo escrito por Baldassarre Loyola Mandes S.J. (1631-1667), un príncipe musulmán marroquí convertido al cristianismo que luego entró en la Compañía de Jesús. El objetivo del artículo será demostrar cómo este miʿrāǧ latino se basó en una fuente árabe relacionada con la literatura de ḥadīṯ. Como método para alcanzar nuestro objetivo, haremos un estudio comparativo de las fuentes de las que Baldassare pudo tener conocimiento. Además, mostraremos el modo en que Baldassarre intentó no solo polemizar con la tradición islámica, sino también las estrategias que utilizó para cristianizarla.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Al-Qanṭaraarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Al-Qanṭara
    Article
    License: cc-by
    Data sources: UnpayWall
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Al-Qanṭara
    Article . 2021
    Data sources: DOAJ-Articles
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Al-Qanṭaraarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Al-Qanṭara
      Article
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Al-Qanṭara
      Article . 2021
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    Mexico’s so-called “War on Drugs” began as a war on poor people. This article locates the roots of Mexico’s current drug-related violence in a longer history of state terror and violence enacted against social movements and rural communities. The article traces this history by grounding it locally in the guerrerense municipality of Coyuca de Catalán. Resumen: El norte chiquito: De “guerras sucias” a guerras de drogas en Tierra Caliente de GuerreroLa mal llamada “guerra contra las drogas” en México empezó como una guerra contra los pobres. Este articulo ubica las raíces de la violencia en el México contemporáneo dentro una historia de terrorismo de estado y violencia durante la década de los años 70. Para desenredar estas raíces, el artículo ofrece una perspectiva histórica y local basada en el municipio guerrerense de Coyuca de Catalán.

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    Authors: Carlo Beltrame; Fabrizio Antonelli;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Luigi RUSSO;

    The interests that revolve around the mandatory indication of the place of origin of a food product are multiple and often conflicting with each other. Alongside the interests of some producers wishing to highlight the geographical origin of their products, there are conflicting interests of other producers who, for different reasons, prefer not to disclose the origin of their product. Then there are also interests of consumers interested at receiving an ever greater and transparency of the extensive information on the product offered. The indication of the origin of a food product can also constitute an element that has an impact on the proper functioning of the internal market to the extent that it can ultimately induce consumers to purchase national products or, at least, it may affect their purchasing choices: it is therefore necessary to assess the compatibility of the mandatory indication of the origin of the food with the principle of the free movement of goods. This competition of interests explains why the European Union’s legislation on this point is somewhat ambiguous: this paper, apart from the presentation of collective marks and certification marks which, although in a limited way, may contain references to the geographical origin of the products, points out to the provisions contained in Regulation EU 1169/2011 on the provision of food information to consumers, as well as the provisions regulating the products with PDO and PGI certificates.

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    Przegląd Prawa Rolnego
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    Przegląd Prawa Rolnego
    Article . 2021
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Pavle Bonča; Ana Marinković;

    Crtež dvojnog ljetnikovca Kaboga-Zec iz serije Diversa Cancellariae Državnog arhiva u Dubrovniku iz 1508. godine najraniji je sačuvani vizualni prikaz dubrovačke ladanjske arhitekture te donosi niz likovnih i tekstualnih podataka značajnih za razumijevanje njezina razvoja na prijelazu 15. i 16. stoljeća. Osim udvostručenog pročelja s gotičkom triforom i bočnim biforama, to se posebice odnosi na element ugaone lođe, poput lođa kakve se u simetričnom paru pojavljuju na pročeljima dvaju dubrovačkih ljetnikovaca kasnog 16. stoljeća (Sorgo-Natali i Mleci), dok je znatno ranija lođa ljetnikovca Kaboga-Zec oblikovno i funkcionalno donekle usporediva s bočnim “prohodnim” lođama ranoga 16. stoljeća. Srodnosti s objema vrstama lođa ukazuju na prijelazni oblik, odnosno na moguće najraniji primjer ugaone lođe u korpusu dubrovačke ladanjske arhitekture, a time i na lokalno podrijetlo ovoga arhitektonskog motiva.

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    Radovi Instituta za Povijest Umjetnosti
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      Radovi Instituta za Povijest Umjetnosti
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    Authors: Barbara Murovec;

    Memorializing his family was a key concept of Ignaz Maria Count Attems’ visual propaganda. The role of personal iconography has been recognised mainly in his secular fresco commissions. This paper focuses on the analysis of the ceiling painting and furnishings of the pilgrimage church of the Holy Virgin at Zagorje near Pilštanj in Styria (Slovenia) and decodes the interweaving of Virgin (Madonna with Grapes, Assumpta, Regina Coeli, the Immaculate Conception), Holy Family, Holy Kinship and other saints worship with representations of the Attems family. In 1708 and 1709, the church was frescoed by Matthias von Görz, and in the following years, it obtained the main Virgin’ s altar and the altars of St Joseph and St Dismas in the lateral chapels. The Baroque decoration followed a unified iconographic concept in which the family memoria systematically builds on and complements the theological programme. Attems presented himself in the imitatio of the Holy Family, following the example of the Habsburg family.

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    Authors: Federico Giusfredi; Valerio Pisaniello;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ IRIS - Università de...arrow_drop_down
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    https://doi.org/10.2307/j.ctv2...
    Part of book or chapter of book . 2021
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      https://doi.org/10.2307/j.ctv2...
      Part of book or chapter of book . 2021
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    Authors: Bogdan Živković;

    This paper analyzes the relations between the communist parties of Yugoslavia and Italy during 1956, one of the most important years of the history of communism. The dissenting nature of those relations, which were based on the mutual wish to limit the Soviet hegemony within the global communist movement, is in the focus of this analysis. Finally, this paper aims to demonstrate how the roots of the close friendship between the two parties during the sixties and seventies can be traced back to 1956, and how the Yugoslav communists influenced or tried to influence their Italian counterparts.

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    https://doi.org/10.31212/tokov...
    Article . 2021
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      https://doi.org/10.31212/tokov...
      Article . 2021
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    Authors: Marisa Agostini; Ugo Sostero;

    This study considers the accountability practices implemented in the first schools of commerce to effectively communicate with stakeholders. Specifically, it analyses the initial system of accountability implemented by the first Italian higher school of commerce in the nineteenth century, with a particular focus on the use of cash and accrual methods. The microhistorical analysis draws on accountability and stakeholder theories and uses both primary and secondary information sources to investigate the original, hybrid approach adopted by the school, focusing on its dual accountability system. The results section explains the involvement of the government in establishing and recognising the school as a strategic asset for the entire kingdom, contradicting criticisms present in the extant literature; we also examine the innovative accountability process implemented by the school to satisfy the reporting needs of its salient stakeholders. The school was able to apply its accountability competences to implement a dual system, preserving its priorities as based on the relationships between its stakeholders’ needs (the old accountability system), educational skills (teaching the new accountability system) and the wider (national) implications resulting in an improvement of the entire accountability system.

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    Authors: Erica von Essen; Jonathon Turnbull; Adam Searle; Finn Arne Jørgensen; +2 Authors

    Digital surveillance technologies enable a range of publics to observe the private lives of wild animals. Publics can now encounter wildlife from their smartphones, home computers, and other digital devices. These technologies generate public-wildlife relations that produce digital intimacy, but also summon wildlife into relations of care, commodification, and control. Via three case studies, this paper examines the biopolitical implications of such technologically mediated human-animal relations, which are becoming increasingly common and complex in the Digital Anthropocene. Each of our case studies involves a different biopolitical rationale deployed by a scientific-managerial regime: (1) clampdown (wild boar); (2) care (golden eagle); and (3) control (moose). Each of these modalities of biopower, however, is entangled with the other, inaugurating complex relations between publics, scientists, and wildlife. We show how digital technologies can predetermine certain representations of wildlife by encouraging particular gazes, which can have negative repercussions for public-wildlife relations in both digital and offline spaces. However, there remains work to be done to understand the positive public-wildlife relations inaugurated by digital mediation. Here, departing from much extant literature on digital human-animal relations, we highlight some of these positive potentials, notably: voice, immediacy, and agency.

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    Article . 2022
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    Authors: Federico Stella;

    El artículo versa sobre una versión latina desconocida del miʿrāǧ que el autor ha descubierto en el Archivo de la Pontificia Universidad Gregoriana dentro de un opúsculo escrito por Baldassarre Loyola Mandes S.J. (1631-1667), un príncipe musulmán marroquí convertido al cristianismo que luego entró en la Compañía de Jesús. El objetivo del artículo será demostrar cómo este miʿrāǧ latino se basó en una fuente árabe relacionada con la literatura de ḥadīṯ. Como método para alcanzar nuestro objetivo, haremos un estudio comparativo de las fuentes de las que Baldassare pudo tener conocimiento. Además, mostraremos el modo en que Baldassarre intentó no solo polemizar con la tradición islámica, sino también las estrategias que utilizó para cristianizarla.

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    Al-Qanṭara
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    Al-Qanṭara
    Article . 2021
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      Al-Qanṭara
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      Al-Qanṭara
      Article . 2021
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    Mexico’s so-called “War on Drugs” began as a war on poor people. This article locates the roots of Mexico’s current drug-related violence in a longer history of state terror and violence enacted against social movements and rural communities. The article traces this history by grounding it locally in the guerrerense municipality of Coyuca de Catalán. Resumen: El norte chiquito: De “guerras sucias” a guerras de drogas en Tierra Caliente de GuerreroLa mal llamada “guerra contra las drogas” en México empezó como una guerra contra los pobres. Este articulo ubica las raíces de la violencia en el México contemporáneo dentro una historia de terrorismo de estado y violencia durante la década de los años 70. Para desenredar estas raíces, el artículo ofrece una perspectiva histórica y local basada en el municipio guerrerense de Coyuca de Catalán.

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