She attended the Liceo ginnasio statale Augusto (Classical high school), where she studied humanities, Latin and ancient Greek.
Since 1999, Sarah Maclaren has been at the Loyola University of Chicago Rome Center,[1] where she teaches Sociology focusing on the topics “Italy Today” and “Italian Fashion and Design”.
Although it was often confused with similar concepts such as magnanimity and sublime, magnificence, Maclaren argues, has always had to with the greatness of actions, courage, excellence, honour, generosity, and splendour of lifestyles of noble purposes.
Alcibiades is one of the most notorious examples of how human excellence can turn towards evil deeds, if it is unable to resist political and social ambition, corruption, and greed (Maclaren 2003: 11-24).
[7] The first part of the volume addresses the history of the idea of magnificence from the Middle Ages – of which Thomas Aquinas left one of the most insightful theories – through the numerous interpretations it underwent during Italian Humanism and the Renaissance.
The disturbing influences of the Prisons also caught the imagination of Aldous Huxley, Fritz Lang, Yo-Yo Ma and, last but not least, the “outsider artist” Achilles Rizzoli.
This approach earned him a highly original profile on the global scene, allowing him to be one of the few architects who brought together both the Far Eastern and Western traditions of aesthetic and architectural designing.
The infrastructural facilities, the artificial islands, the global cities demonstrate how Japan is committed towards building public works beneficial on the entire population.
On the other hand, the chika, - the Japanese underground cities – remind us of the uncanny and controversial version of magnificence connected to the Piranesian scenes of the Prisons and the Roman cloacae (Maclaren 2005: 151).
2007),[13] the author focuses on the main features of this artistic field, namely what makes it different from art and design, why studio craftspersons insist upon their technical virtuosity and their apprenticeship, and how the artworks are accepted, appreciated, collected, and consumed.
[14] Maclaren shows how this type of traditional pottery could have disappeared completely, if an efficient process of evaluation had not taken place enabling it to rise to public fame, to be collected and displayed in museums.
Yanagi founded the Japanese Mingei movement and propagated his ideas through the creation of journals, books, museums, exhibitions as well as awards for the outstanding crafts and craftspersons.
She carried out fieldwork on a small traditional community located in the northeastern state of Pernambuco, thanks to the support of the Instituto Arqueológico Histórico e Geográfico Pernambucano, a Brazilian cultural institution of which she is a member.