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Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 1620 re-edition of the statutes of Magnifica Patria allows the observation of the dynamics among the Brescia Riviera, the city of Brescia, of whose territory the Riviera was part, and the dominant Venice. Based on an analysis of the documents preserved at the archives of Salò it was possible to reconstruct the process of re-edition and confirmation of the new statutes, both from an institutional point of view and in terms of the underlying informal relations. Two topics emerged from this: protection, the fulcrum of which was the Provveditore sent to Salò, and friendship, the cultural reference of the fundamental informal relations essential for obtaining the confirmation of the statutes. [ABSTRACT FROM AUTHOR]

When first released in 1975, Salò or the 120 Days of Sodom, directed by the already-notorious Italian director Pier Paolo Pasolini, aroused instant controversy. As a framework for its plot, Salò took the infamous 500-page novel by the Marquis de Sade, 120 Days of Sodom. In de Sade's novel, four libertines, President de Curval, the Duc de Blangis, Durcet and the Bishop of X, sign a contract whose main clause is commitment to breaking as many taboos as they can possibly think of. With sixteen youths, eight girls and eight boys, servants, guards and four procurers and ex-prostitutes, the libertines isolate themselves in a remote chateau to re-enact their every fantasy. Filming Salò, Pasolini's goal was to remain faithful to Sade's novel. The characters, events and structure of the story remain the same. The more controversial aspect of the film, however, was Pasolini's idea of relocating Sade's novel into the actual historical context of the fascist Republic of Salò. For Pasolini, the gesture of moving Sade to Salò was to draw an actual analogy between the fascism and sadism. For some critics, the parallel between fascism and sadism was unfortunate exactly because it presented fascism, a real and palpable phenomenon, as an abstraction (the way that Sade's world functions). [ABSTRACT FROM AUTHOR]

This article focuses on Paul Chan's 2007 art project Sade for Sade's Sake, which brings together a five-hour-long video installation, a number of drawings and collages, and a series of fonts inspired by the Marquis de Sade's writings called "alternumerics." I argue that Chan is engaged in a transmedial process that is intensely visual and performative and that actualizes Sade's aesthetics by reconfiguring the textual logorrhea central to his writing style. In his video installation, Chan imagines a new kind of sexual tableau that seeks to "show it all," but also turns the larger political statement that his project set out to make into an abstract exploration of forms. In Sade for Sade's Sake, Chan suggests that Sade is caught in a transmedial loop. Sade's writings are channeled into different types of visual media that try to convey the nature of his worldview and to capture its essence. In the end, however, images make way for a new kind of Sadean language that is based on the original texts but that also tends toward abstraction and the endless repetition of the same patterns. [ABSTRACT FROM AUTHOR]

When first released in 1975, Salò or the 120 Days of Sodom, directed by the already-notorious Italian director Pier Paolo Pasolini, aroused instant controversy. As a framework for its plot, Salò took the infamous 500-page novel by the Marquis de Sade, 120 Days of Sodom. In de Sade's novel, four libertines, President de Curval, the Duc de Blangis, Durcet and the Bishop of X, sign a contract whose main clause is commitment to breaking as many taboos as they can possibly think of. With sixteen youths, eight girls and eight boys, servants, guards and four procurers and ex-prostitutes, the libertines isolate themselves in a remote chateau to re-enact their every fantasy. Filming Salò, Pasolini's goal was to remain faithful to Sade's novel. The characters, events and structure of the story remain the same. The more controversial aspect of the film, however, was Pasolini's idea of relocating Sade's novel into the actual historical context of the fascist Republic of Salò. For Pasolini, the gesture of moving Sade to Salò was to draw an actual analogy between the fascism and sadism. For some critics, the parallel between fascism and sadism was unfortunate exactly because it presented fascism, a real and palpable phenomenon, as an abstraction (the way that Sade's world functions). [ABSTRACT FROM AUTHOR]

Salo--cured pork fat--is considered to be the quintessential national dish in Ukraine. This article is an ethnographic exploration of how salo has become a contested space where wider anxieties over the industrialization of food and Ukrainian identity are played out. Russian jokes about Ukrainians and their love for salo highlight the complex relationship between the countries. A certain shrug with which many Ukrainians respond when asked about their "national" dish articulates how ambiguous they see their place in the world: not wanting to be labeled as folksy and peasant-like at the periphery of Europe, but still seeing salo as a marker of the good life that could unite the contending parts of the country. The Museum of Salo employs salo to reimagine Ukrainian identity as cosmopolitan, ironic, and "European." [ABSTRACT FROM AUTHOR]

Copyright of Felsefe ve Sosyal Bilimler Dergisi (FLSF) is the property of Felsefe ve Sosyal Bilimler Dergisi (FLSF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Optimization of recirculator SALO magnetic structure allowed to refine essentially parameters of electron beams in input points of output channels in the basic observational halls. Parameters of a beam along a trajectory of a motion and on an exit of the basic channels are given. Calculations are spent taking into account non-linear fields of dipole and quadrupole recirculator magnets.

This essay analyzes the visual conditions underlying the torture photographs of Abu Ghraib. He looks into the codes in each photos as well as its technologies, conventions, aesthetics and visual archives which enable acts of torture and their visual representation. Then he examines these points of interaction between the techno-politico-military power and visual regimes of subjugation, violence and torture by placing the photos within orientalist, fascist and white supremacist shadow archives.