Bøker utgitt av European Press Academic Publishing

Covid pandemic emergency had a major impact on all sectors, including institutions and the administration, it made us reflect seriously about the resilience of the "systems" (political, legal, health, economic, educational, etc.) and their prospects. This book offers an interpretation by lacing together two closely interwoven threads: the consequences of the Covid emergency and the role of the European Union.

This book tries to offer a complete analytical and operational paper, in view of the development of the European Parliament Administration (EPA) on the issue of e-Democracy. "The impact of technology on the functioning of democracy is nowadays very strong and is causing profound changes: this concerns the way of working of MEPs but above all of the administration. EPA is since years dealing with digital transformation and innovation: what we need now is defining a clear journey for facing the challenges of eDemocracy by shaping a multisector approach" " (Klaus Welle, Secretary General of the European Parliament) 

This book combines history and political analysis of monetary integration in the European Union (EU) and discusses the main consequences of the euro on both member states' domestic politics and the EU's institutions and policies.

This study focuses on the review and adoption of management methods in the European Parliament: the objective is to understand what are the elements that will define the European Parliament Administration (EPA) in the future, from as the 2019 elections to the next years. Indeed, administration capacity is a prerequisite for delivering the institution's mission and objectives. The administration must build on solid foundation the ability to reflect today's needs and anticipate tomorrow needs.

Cet ouvrage fournit un e¿clairage complet sur le de¿roulement des ne¿gociations budge¿taires interinstitutionnelles de l'Union europe¿enne en 2014-2017. Il de¿taille les diffe¿rents sujets auxquels les ne¿gociateurs ont dü faire face et pre¿sente en de¿tail le contenu des accords budge¿taires conclus pendant cette pe¿riode. Une attention particulie¿re est porte¿e aux compromis entre le Parlement europe¿en et le Conseil sur les diffe¿rents e¿le¿ments de flexibilite¿ du cadre financier pluriannuel pour 2014-2020.Cet ouvrage donne e¿galement une image pre¿cise du contenu des budgets de l'Union europe¿enne de 2015 ä 2017, sous forme de graphiques et de tableaux. This book provides a comprehensive picture of the European Union's interinstitutional annual budget negotiations in the years 2014-2017. It analyses the various issues faced by the negotiators and the solutions they devised. Special emphasis is placed on the presentation of the compromises concerning the use of various flexibility elements contained in the new multiannual financial framework for the period 2014-2020.Each of the EU budgets adopted for 2015-2017 is analysed in graphic and tabular form.

This groundbreaking book argues that Boccaccio perfected a literary genre called "musical narrative," which was copied by generations of authors from Bembo to Machiavelli, Tolkien to J.K. Rowling. Musical narrative consists of a work of prose with inserted poetical texts, in which the author indicates that the texts are to be sung. Beck traces the genre back to the biblical Exodus and forward to Zarlino, Monteverdi and early opera. In her interdisciplinary work, Beck explores the ways writers, musicians, and painters in the Italian Renaissance made use of musical insertions to enhance secular and sacred stories that recount journeys. This study provides a new and provocative way of experiencing inserted lyrics, suggesting that readers heard music in the words on the page, just as they appreciated music when viewing representations of music in narrative painting.

La creazione e l'evoluzione istituzionale della Banca Centrale Europea in relazione all'esperienza storica del Federal Reserve System americano.

In questo lavoro l''autore esamina la musica della Divina commedia nelle sue variegate tappe. La musica e╠Ç una componente intrinseca dell''anima umana gia╠Ç nella teoria musicale di Pitagora e nella concezione platonica dell''armonia del mondo. Nel medioevo la suddetta tradizione musicale fu tramandata da Severino Boezio attraverso il suo De institutione musica. In questa specie di manuale tecnico, Boezio divide la musica in tre categorie principali: musica instrumentalis, musica humana, musica mundana. La prima categoria si riferisce alla musica comunemente nota quale arte dei suoni. La seconda, invece, ha per oggetto l''armonia dell''anima umana, la quale, per raggiungere il suo grado di perfezione deve essere principalmente accordata con se stessa. Infine la musica mundana e╠Ç l''armonia dell''universo, sebbene possa essere pensata come tale solo mediante l''anima umana che contenga la consistenza del suo archetipo, seguendo, chiaramente, la sistematicita╠Ç della musica instrumentalis. Il trattato di Boezio influenzo╠Ç Dante considerevo mente. Echi di questa influenza sono riscontrabili quasi in tutte le opere dantesche. Un''opera sui generis e╠Ç la Commedia per la sua prevalente musicalita╠Ç, una musicalita╠Ç sostanzialmente di stampo boeziano. La musica della Commedia e╠Ç un elemento di struttura e rimane consistente con la categorica tripartizione boeziana. La prima cantica, l''Inferno, e╠Ç unica in quanto preludio della fruizione musicale che, in effetti, e╠Ç una non-musica. E╠Ç cio╠Ç che illustra il regno del caos, della dannazione, dell''assenza della luce divina e dell''ordine. Nell''Inferno le leggi delle tre categorie musicali sono sovvertite da suoni aspri, disperati, bestiali e osceni. In Purgatorio la musica e╠Ç diversa da quella dell''inferno. Per mezzo della musica instrumentalis le anime del Purgatorio, pian piano, tornano al loro stato primigenio: si riaccordano come uno strumento musicale dando la possibilita╠Ç alla musica humana di tornare a regnare incontrastata. Qui sono i suoni piacevoli e gli inni che fanno da sfondo e da tematica di tutta la cantica, con il ruolo specifico di guidare le anime sulla via dell''eterna salvazione. La sommita╠Ç del Purgatorio indica il completo raggiungimento di una emendatio animae. Le anime riescono finalmente a trovare un riaccordo totale con se stesse e accolgono desiderosamente il governo della musica mundana. Nel Paradiso la musica e╠Ç del tutto ineffabile perche╠ü riflette l''armonia e l''ordine del cosmo, tratta il movimento della "caeli machina". 

This book documents scientifically how human beings and everything evolved from mere divisions of nothing. Citing evidence from nearly a thousand cross-disciplinary references, shocking insights into the human nature, mind, consciousness, communality, love, sexual relationships, humor, happiness, will power, and the individualized purpose of everything are deduced. This incredible source of factual information and revealing deductions on the deeper reality of all things can provide useful knowledge to anyone willing to learn. Kuenftigen Leuten or "future people" in English, are deduced to be the authors of the book because the scientific facts indicate that their conscious will for the individualized self-fulfillment of all humanity propelled the writing of these insightful volumes. They hopefully will soon lead to the replacement of the pathologically hierarchical cultures of today with an empathetic commonness of purpose based on the individual diversity involved in natural human equality. Ending the battle between the sexes is a vital component of that process, and means for doing so on both a small and large scale are revealed in these pages via a coherent merging of opposites, just as existed for millions of years of human prehistory before there was ever any thought of a superior being. We may all be "future people" if we want to be.

This book documents scientifically how human beings and everything evolved from mere divisions of nothing. Citing evidence from nearly a thousand cross-disciplinary references, shocking insights into the human nature, the mind, consciousness, communality, love, sexual relationships, humor, happiness, will power, and the individualized purpose of everything are deduced. This incredible source of factual information and revealing deductions on the deeper reality of all things can provide useful knowledge to anyone willing to learn. Kuenftigen Leuten or "future people" in English, are deduced to be the authors of the book because the scientific facts indicate that their conscious will for the individualized self-fulfillment of all humanity propelled the writing of these insightful volumes. They hopefully will soon lead to the replacement of the pathologically hierarchical cultures of today with an empathetic commonness of purpose based on the individual diversity involved in natural human equality. Ending the battle between the sexes is a vital component of that process, and means for doing so on both a small and large scale are revealed in these pages via a coherent merging of opposites, just as existed for millions of years of human prehistory before there was ever any thought of a superior being. We may all be "future people" if we want to be.

Nel 2004 due dipinti, una piccola Madonna, supposta opera di Raffaello, ed una altrettanto piccola Madonna, supposta opera di Duccio, sono stati venduti per una somma totale di più di 100 milioni di dollari. Il primo, noto come la "Madonna dei garofani" è stato comprato dalla National Gallery di Londra e il secondo, talvolta chiamato il "Duccio Stoclet" è stato acquistato dal Metropolitan Museum di New York. Il modo in cui i lavori sono stati attribuiti ai due famosi artisti, denota chiaramente la crisi della moderna pratica attribuzionistica di fronte all'odierno, plutocrate mondo dell'arte. Le due opere infatti costituiscono una forte spesa di denaro pubblico per lavori non più grandi di un foglio di carta. Il libro dimostra dove e perché la loro attribuzione è erronea e cerca di ristabilire gli strumenti per una analisi corretta. In pratica, l'autore fornisce uno studio rigoroso e filogico dei due dipinti, dimostrando che entrambi sono falsi creati nel diciannovesimo secolo.