Le macchine infernali (Urania) (Italian Edition)

Home September 5 Infernal Devices by K. Jeter Infernal Devices by K. Jeter was published for the first time in Leave a Reply Cancel reply Your email address will not be published. Kim Dotcom leaves Mega for a new music service and a career in politics. This website uses cookies to add functionalities.

Some are third-party and some are for targeting. If you're not OK with it you can use programs that block them or get our of this site. Newbery, ; Rowlandson [ Thomas, illustrator The Military Adventures of Johnny Newcome with an Account of his Campaign on the Peninsula, second edition, half title, engraved later hand-coloured frontispiece and 12 plates, marginal repairs to front text leaves and some later ones, spotting and staining, c bookplate, remnants of bookplate on flyleaf, c ontemporary half brown morocco, spine perished, worn, shelf label on spine, upper board loosening, P.

Martin, ; with 6 others 11 , v. Shawe-Storey on pastedown and flyleaf, contemporary half blue calf, marbled boards, red morocco label, ruled in gilt, spine tooled in gilt, t. Newcombe for Richard Marriott, Canto I, half-title, engraved frontispiece by Rowlandson, ; The Lousiad Canto II, half-title, engraved frontispiece, ; The Louisiad Paine, new edition, leaf torn with loss to a few words, ; The Remonstrance, new edition, half-title, ; A Commiserating Epistle to James Lowther, Earl of Lonsdale and Lowther, new edition, engraved frontispiece, ; More Money, new edition, marginal tears to last 3 ff, the last reinforced, , together 27 works in 1 vol.

Zane, ; Segneri Pavolo Practica delle Missioni, 2 vol. De Medicina Indorum, 2 parts in 1 with separate titles, the main printed in red and black with woodcut device, floriated initials and decorative head- and tailpieces, 2 full-page woodcuts and other text illustrations, some browning, a few leaves misnumbered, bb4 heavily stained, front pastedown wormed, scattered spotting and foxing, light marginal damp staining towards end, early inscription at rear, contemporary limp vellum, early title in calligrafic script to spine, lightly water stained, 4to, Paris, G. Turkish practices observed during a three-year sojourn in Egypt.

These included moxibustion - the production of counter-irritation by placing burning or heated material on the skin - which Alpini introduced into European medicine Verteutschte neue Beschreibung derer in dem Menschlichen Korper Befindlichen Musculen, first German edition, engraved frontispiece, title in black and red, Gothic letter, woodcut initials, head and tailpieces, 46 copper engravings by Kupffer, browning and spotting throughout, worm trail affecting first 10 leaves, some leaves trimmed at foot, neat repair to pp. The anatomical representations are in Baroque style, with the bodies often placed against the backdrop of gardens and landscapes.

The work describes the remarkable story of the young Margaretha Weiss from Roet, near Speyer, who, allegedly, lived without food or drink for two years [Thorndike, V, ]. Saillant, ; Maupertuis Pierre Louis Moreau de Saggio de Cosmologia, engraved extra title, some spotting, contemporary vellum, rubbed, head of spine damaged, Venice, F.

Sansoni, ; De Cesare Angelo Ephemerides Astronomicae Anni intercalaris ad Meridianum Mediolanensem, engraved frontispiece, title vignette, contemporary calf, spine gilt, rubbed, Milan, J. Zorzi, ; Boskovich Ruggiero Giuseppe De Solis ac Lunae Defectibus L ibri V, first Italian edition, half-title, small engraved vignette on title, contemporary calf-backed boards, marbled boards, spine gilt, little rubbed, Venice, A.

Komarek, ; De Billy Jacques Opus Astronomicum, diagrams, 18th century inscription on flyleaf, some browning, later limp vellum, Dijon, P. Josset, ; Mondroni Ludovico Caelestis Figura Directiones, engraved title, woodcut device at end, some worming to inner margin, 19th century calfbacked boards, rubbed, Bologna, N. Conte Marino Zuliani con la Nob. The first is a scarce hagiography of the saintly Contessa Vittoria Beltrame. The Boncompagni were an Italian noble family dating to the 14 th century.

Iosephum de Tertiis, 1 leaf, minor spotting, folio, Bologna, heirs of Vittorio Benacci, , 19th century orange half leather with marbled paper, new endpapers, gilt lettering; Porporino Baroncino Ad Kalendarium Romanum Amiterni Effossum From the library of the Jesuit astronomer Giovanni Battista Riccioli , whose lunar nomenclature is still in use today. Not sold at auction. A group of 6 Cantonese rice paper paintings, depicting scenes of torture with different instruments, gouache, c. Most interesting the chapters on spirits and demons. The work was notably diffused outside Italy, thanks to the Latin translation of Gaspare Ens.

I and 38 in vol. II, tables, errata leaf inserted after d1 in vol. I, signed by the author [as usual] at the foot of the privilege leaf, lightly browned, spotted and stained throughout, plates frayed and damp stained at fore-edges, stamp of Eug. Wehrle, Brussels on front endpapers of vol. From the library of the great bibliophile Pietro Riccardi , author of Biblioteca matematica italiana. Beraud, ; Bonardo Giovanni Maria La Grandezza Larghezza e Distanza di Tutte le Sfere, device on title, 2 large woodcut portraits, decorative initials, some marking, stamp on title, modern limp boards, Venice, F.

Boskovich, the third with notes by the author and a lengthy essay on Greek, Latin and French astronomical verse. The work is divided into three parts a preface on the doctrines of Paracelsus, the main treatise on pharmacy and therapeutics and a treatise on signatures , and describes individual preparations and their applications in great detail. Croll was a follower of Paracelsus and one of the most eminent chemists of the 16th century.

The name of the author is hidden in the acrostic on p. Innocents De Paris, after the edition, limited edition, no. Baynes, ; Holbein Hans Der Todtentanz, engraved title and 46 engraved plates, tissue guards, occasional foxing mostly on tissue guards, modern black morocco, modern end papers, small folio, Stuttgart, Konrad Wittwer, 3. Oehrling, ; [Defoe Daniel ] Histoire du Diable: Corvo, ; [Vallemont P.

Denores was a scholar from Cyprus. Having studied with Trifone Gabriele and Sperone Speroni in Padua, from he taught moral philosophy. He wrote many geographical, cosmographic, political and rhetorical works.

Paradosso cosmico (Urania)

Mutii, ; with 4 19th century pamphlets on earthquakes, and 3 others, v. Accessit XVI de Solidorum, vol. Cavellat, []; [bound with] De Arithmetica Practica Libri Quatuor, woodcut initials, tables, printed in red and black, spotting and staining throughout, contemporary vellum, creased and soiled, Paris, M.

Nebulo Nebulonum hoc est, Jocoseria Nequitiae Censura, 33 engraved text illustrations, head-pieces, initials and ornaments, occasional light spotting and staining, contemporary calf, spine gilt, joints split, extremities rubbed, [Landwehr German ; Praz ; Wellcome I, ], 8vo, Frankfurt, Elizabeth; or Exiles of Siberia, half title, engraved second title, 4 engraved plates, occasional foxing and staining, early nineteenth-century full red straight-grain morocco, spine gilt with flourons, boards double ruled in gilt with an inner border of flourons, a.

Lloyd, stamps of the Franciscan Library at The Friary, Olton to free endpaper and title, contemporary speckled calf, gilt lettering to spine, a. Rosenthal, BMP, ed. Melzi, Anonime e Pseudonime, II, p. Johann Funck was a Lutheran theologian and supporter of the justification of Andreas Osiander. Radford, , contemporary calf, covers with panel design tooled in gilt, a.

Imperiali was a philosopher and physician who lived and practised medicine near Vicenza. Only 4 existing copies of this work. None sold at auction. Della Punizione degli Eretici e del Tribunale della S. Lettere Apologetiche…, engraved title illustration and cross on viii, occasional light spotting, contemporary half vellum gilt, rubbed and scuffed, corners a little bowed, 4to, Con Pubblica Approvazione, [n. Reale il Granduca Leopoldo II.

Novamente Ristampato, woodcut vignette on title, contemporary limp vellum, rubbed and marked, Treviso, A. Jombert, ; with 4 other works of related interest in 7 vols.

Infernal Devices by K.W. Jeter

Libri Tres, contemporary calf, rather worn, Vienna [], and Toaldo Giuseppe Tavole Trigonometriche con un Compendio di Trigonometria, 3 folding engraved plates, tables, contemporary calf, Padua, 8 Sold not subject to return. Tomaselli printed label on front pastedown of plate vol. Le Sabbat des Sorciers, no. La Nuova Sfera di F. Pietro Metastasio Romano Poeta Di Sua Maesta Imperiale, half title, folding engraved frontispiece, small tear on fold, title in red and black, engraved vignette on title, slight spotting throughout, later paper wrapper, manuscript paper label, stained, 4to, Florence, Giovan Paolo Giovannelli, ; Caprara Vittoria , La Fisica Poemetto, woodcut title with engraved vignette, ownership notes on back pastediwn, occasional light staining and spotting, later spotted wrapper, paper label to spine, spine rubbed with loss, small 4to, Turin, Gioanni M.

It was placed on the Index in The book explains a board game based on calendar computations consisting of numerical charts related to the 12 months of the year. The game involves the casual extraction of two numbers by the use of 3 dices, to calculate the Moon phases, specific dates such as Easter, the beginning of the Advent and the Golden number. Nova Temporis Facula, qua Intercalandi Arcana, Hactenus Obscura…, woodcut device on title, initials, full-page woodcut illustration of a human hand, with key, variable browning, spotting and staining throughout, puncture-holes at gutters, modern marbled paper boards, most of spine torn away, edges rubbed, 4to, Leiden, C.

This copy was formerly in the library of Leopardo Martinengo, a Lombard count and senator, who bequeathed his books to the Biblioteca Queriniana in Brescia in Diggens, ; Dagley R. Andrews, ; with 1 other, v. IV, ], small folio, Amsterdam, Jansson-Waesberg, The engravings by C. Maria Rizzardi, 2 It contains an illustrated catalogue at end.

From the library of the known German surgeon Friedrich Trendelenburg Friedrich was the son of professor of philosophy Adolf Trendelenburg. De Maris Aestu Reciproco Dissertatio, woodcut device on title, final blank leaf present, repair to title margin, later patterned boards, [Riccardi II ], [ Lancetti, Pseyudonimia, p. Vallisnieri was an Italian medical scientist, physician and naturalist. He studied under M. He belonged to the Galilean school of experimental scientists.

This work inspired the French magician Robert Houdin. A curious pamphlet clarifying the astronomical and mathematical calculations on which the Gregorian Calendar was based. Goguet Antoine-Yves , et al. Goodwin, []; with a collection of works of related interest, v. Crespi, ; [Various Authors] Processo originale degli untori nella peste del , 1 folding engraving, some light marginal waterstaining and slight foxing, all edges untrimmed, half leather, title to spine, 4to, Milan, a spese degli editori, ; Henrieck G.

Merigot, ; Barbarigo Giovanni Metodo Facile Per Descrivere Gli Orologi Solari al Nobilissimo Giovinetto, folding engraved frontispiece, 5 engraved plates, occasional light spotting, contemporary marbled wrappers, worn and faded, Venice, Giacomo Storti, ; Cancellieri Francesco Le Due Nuove Campane di Campidoglio, engraved frontispiece, engraved vignette on title, marginal repair to frontispiece, title and first few text leaves, occasional foxing and staining, later marbled wrapper, recased, slightly warped, Rome, ; Sacheri C.

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Like other women poets of the Renaissance, she explored what it was to be a woman in love. Her authentic individual tone suggests that writing was a vocation she wished she had more time for, not a marginal activity. She was also influenced by the classical pastoral tradition of Theocritus, Longus, Virgil and Ovid when she described the natural world.

Her first madrigal was published in She relied on Petrarchan conventions but she transformed her lyrics to suit her needs. Finally, in her poems were published in a single printed edition, Rime e lettere di Veronica Gambara, edited by Felice Rizzardi. The poems are divided into the following sections: The numerous footnotes and the bibliography guide the reader to the further study of this very important but underrepresented, until now, female poet.

Friendship and Sociability in Premodern Europe: Contexts, Concepts, and Expressions. This book contains the latest results in the ongoing investigation on the notions of friendship and sociability in pre-modern Europe. The introduction presents a thorough discussion of the friendship between Michelangelo and Vittoria Colonna and contains also a useful bibliography. The ten articles are grouped in three parts. The third article might have been better placed at the beginning of the chapter for chronological reasons but nevertheless rightly belongs in this section.

Italian Boolshelf Beatrice and Guido Calvancati is essential to an understanding of the philosophical bases of the friendship and love perceived in this period. According to Bernier, by means of his papers, Bayle establishes the basis of the erudite friendship which he defends and which he promotes for a vaster republic of letters. All these articles explore the diverse characteristics of friendship and the erudite, political, religious and commercial exchanges in the analysis of these networks as well as their larger-scale consequences. Italian Boolshelf international impact, shaped civilization as we know it today, thereby enriching previous investigations and establishing solid bases for further study.

Il primo capitolo si sofferma su Trissino, Machiavelli e Tolomei. Sulla scia di Thomas M. Green, Mongiat Farina sottolinea come i giochi scartati abbiano come obiettivo la conoscenza, al contrario di quello prescelto che propone un percorso di formazione. Nature and Art in Dante: Literary and Theological Essays. Four Courts Press, The essays published in this collection, originally delivered in the context of the annual Dante Series at the University of Dublin in and , represent a valuable contribution to the study of the crucial and complex issues of nature and art in Dante.

As one understands from the subtitle of the volume, Literary and Theological Essays, these issues are explored in an interdisciplinary perspective that does not include only literature and theology but also the visual arts and philosophy. Two of these essays are particularly important in clarifying the two themes at the center of the volume.

In this sense the term is close to the concept of art in ancient philosophy where it was related to planned practical skills. On the one hand, artista may allude to an artisan or craftsman as in Paradiso Finally, arte for Dante implies skills and techniques that the artist must master, and is not opposed to science or nature; above all it points beyond itself, to a world of values that create its dignity. The second essay that plays an important role in elucidating the two major topics at the center of the volume is Simon A. In this sense the cosmos is the Book of God through which humans may apprehend the divine artificer behind it.

This vision of nature had ancient roots and was developed particularly by twelfth-century theology. Italian Boolshelf more philosophical and appears related above all to the recovery and reception of Aristotle and his Arab and Latin commentators. This hierarchy is confirmed in the extended literary description of the visual arts of Purgatorio where God is the artificer of the engravings, superior to all human artists and natural realities. However, Dante conceives nature as closely linked to the planets and their angelic movers. The other essays in the collections contribute in different ways to the general theme of the volume.

Italian Boolshelf combination of Aeneas and Paul, a hero and a poet-prophet. In conclusion, the volume Nature and Art in Dante is an important addition to the bibliography on these themes. Prefazione di Mario Praz. Biblioteca di Lettere Italiane, Studi e Testi. E non meno, e proprio per questa coscienza, la lezione di Tasso rimane preziosa, e maturo compimento del secolo XVI: A cura di Marco Petoletti.

Italian Boolshelf e composto da solo tre capitoli il terzo addirittura interrotto , in cui sono trattati gli esempi di modestia. The Renaissance from an Italian Perspective: An Anthology of Essays In the introduction to The Renaissance from an Italian Perspective: An Anthology of Essays , editor Rocco Rubini enumerates his motivations and criteria for compiling this collection of essays.

Can we say today that these complexities have been resolved? These are but a few of the penetrating questions with which one must grapple in dealing with these essays. Each essay is densely laden with social and historical implications, and rife with value judgments and sharp critiques. Because the Renaissance failed to produce political autonomy for Italy, and was followed instead by a period marked by foreign domination and historical decline, it could not represent for the Italian consciousness a moment of unqualified progress despite the advances it heralded.

As Dionisotti points out: Characterized by a sense of urgency and moral certitude, the writings of Spaventa, De Sanctis and Fiorentino represent the period of the late Risorgimento. Spaventa calls for a new system of learning, and De Sanctis rejects the Renaissance intellectual. The next generation of scholars who carry the torch of their predecessors is represented by Gentile and Croce. Grassi, Garin and Cantimori provide the post- war perspective, characterized by a reappraisal of the role and influence of Renaissance humanism.

For them, humanist thought and method are essential to the development of modern sensibilities and civilization.

It is his thesis that all academic and scientific endeavors are outgrowths of humanism. Italian Boolshelf The epilogue to the volume comes from Dionisotti and returns to the issues initially raised in the introduction. He points out the role that history has played in the shifting relationship between Italian scholarship and the Renaissance. According to Rubini, however, there is knowledge to be gleaned from the contributions of scholars such as De Sanctis, and value to be gained from continuing to include their considerations in discussions of the Renaissance. This volume is a testament to the ongoing dialogue that exists between the past and present, as modern Renaissance scholars continue to puzzle their way through matters of national identity and philosophy, ever plagued by questions of historical subjectivity.

How can any scholar look upon history with an unbiased eye, without seeing his or her own world view reflected at any given moment in time? Rather than offer an exposition on Italian Renaissance scholarship, it, instead, poses a challenge to future generations to find their own place within the dialogue begun over a century ago.

Scholars must strive to answer the questions which inevitably arise from the consideration of texts such as these, and in so doing approach a better understanding of themselves and their own influences, as well as those of the thinkers who came before. Representation, Self-Representation, and Agency in the Renaissance. Centre for Reformation and Renaissance Studies, This volume of eleven papers by as many scholars spans four centuries and several countries, including England, Spain, France, and Italy.

The first four essays, as well as the eighth, focus on sixteenth- and seventeenth-century France: Essays five and six are set in England: Italian Boolshelf other personal identifiers. Archival documents, Brizio claims, reflect real-life practices more accurately than statutes and other normative literature commonly examined by historians; through a careful reading of these newly analyzed documents primarily, notarial records , Brizio shows the extent of the autonomy and economic freedom enjoyed by Sienese women in the fourteenth and fifteenth centuries — much greater than, for example, the autonomy of their Florentine counterparts.

My two main critiques, however, are addressed to the press the Centre for Reformation and Renaissance Studies in Toronto , and not to the generally thoughtful, original, and well researched essays themselves. First of all, readers will wish that the manuscript revision had been more thorough: The binding, as well, should have been done better: That said, there is much to recommend this eclectic book to scholars — both historians and literary critics — working on, or interested in learning more about, the representation of women in early modern Europe.

Italian Boolshelf Shakespeare and the Italian Renaissance: Michele Marrapodi has been writing about English and Italian cultural relations since the s. This most recent volume, which he has edited with his usual care, consists of eighteen essays by scholars whose concerns go beyond the identification of borrowed sources.

The Merchant seems to have been conceived with precisely such an idea in mind. At the core of her thesis is the Italian term riconoscenza gratitude , which shares a root with riconoscere to recognize: This notion sheds light on the strange and chilling moment when Coriolanus forgets the name of a poor Volscian who has given him aid.

The moment seems trivial but it foreshadows what will happen to Coriolanus at the end, when he cannot bring himself to utter his own name, the name he has earned in battle at Corioles, upon entering the home of the arch enemy Aufidius. In that home, of course, there will be no riconoscenza for Coriolanus. Italian Boolshelf The danger, of course, in setting out to discover evidence of political engagement is to see such evidence where perhaps it does not exist.

Horatio Palavicino was not only a merchant and a politician but apparently also a whoremonger. Italian Boolshelf near the Curtain theatre. Together, however, these essays constitute a significant contribution to our understanding of the way in which Shakespeare read and responded to his Italian predecessors. Poetry and Identity in Quattrocento Naples. La posizione del poeta si manifesta nelle caratteristiche formali e contenutistiche delle opere, denotanti vari gradi di capitale culturale.

Italian Boolshelf costituita da molteplici campi e pratiche in competizione tra loro. Nei primi tre capitoli Soranzo esamina il Parthenopeus e De amore coniugali tramite i vari fili che legano le opere al loro contesto discorsivo, delineando come Pontano negozia le proprie origini umbre e la sua assimilazione della cultura aristocratica napoletana. Spostatosi lo sguardo al campo della filosofia e della religione, il quinto capitolo esamina la rinegoziazione del proprio carisma da parte di Pontano dopo la caduta della dinastia aragonese. Italian Boolshelf capitolo, che discute un progressivo allontanamento di Sannazaro da Pontano con il De partu Virginis.

Sleepwalking into a New World: Princeton University Press, Students of Italian literature typically encounter the history of Italy at the time of the rise of vernacular literary records, around the mid-thirteenth century. The relationship between urban life and literary production is already something of a given by that time; indeed, in De vulgari eloquentia Dante maps the various vernaculars of northern Italy on an urban grid.

The governmental model associated with these cities, that of the commune, is likewise in place, so the question of how the commune was born does not seep into literary studies. It turns out, however, that the commune has a fascinating history and an impressive documentary record, now mediated by Chris Wickham in this excellent book. The author devotes a chapter each to Milan, Pisa, and Rome, as well as one to a review of several other cities that furnish further comparisons to the three principals.

The makers of the commune did not partake of the sort of self-aware constitutionalism we see elsewhere; rather, they more or less stumbled upon their new government. Italian Boolshelf were all pretty much up to the same thing. Moreover, just as Wickham describes an ideal-type commune, so too does his history record a more or less consistent set of conditions that allow the commune to emerge. First and foremost there is the above-mentioned weakening of the old order: Important too is an older tradition of urban assemblies, such as the Milanese collectio, that morphed into the consulatus or concio, an organized urban deliberative body.

Rather, they could come from lower landholding classes, and many had training in the law. With economic interests to protect, these men sought compromise with fellow citizens to ensure urban stability, applying their collective knowledge and energies to the protection of the city from external and internal threats. At the same time, however, one can see how the presence of multiple landholders in and around urban areas would encourage the sort of dialogue that would aim to preserve property rights and limit encroachment.

Wickham is a cautiously speculative historian; he hews to his documents, allowing them to tell only as much of the story as they can tell. One effect of the political somnambulism that Wickham describes is that the lack of self- awareness about the changes being effected left a hole in the historical record: Students of medieval Italian literature will find a fascinating secondary narrative here as well.

Wickham mentions a number of historical poems from Milan and Pisa, written in Latin. On the cusp of the emergence of a vernacular literature, therefore, there existed a late-Latin literary tradition, one that would overlap with vernacular production later on. This study begs one question and answers another.

The former has to do with why the commune emerged at roughly the same time in so many places. Wickham furnishes some answers, but there is no reason to assume that common conditions would give rise so consistently to the commune. Some of the answers may have to do with imitation, as word spread throughout the region about the emergent governmental structures. Italian Boolshelf landscape associated with urban life appears to have played a role, with wealthy stakeholders aiming to protect their property rights and enforce the responsibilities of members of the community as a means to guarantee a stability seen as good for all.

The second question, the one Wickham answers more adamantly, goes to why he writes this book in the first place, and it is related to the first. Wickham insists that a teleological reading of the history of the commune is thoroughly unfounded, precisely because its inventors basically had no idea what they were producing as they made it.

There is no destiny here, but a haphazard and luckily successful attempt to create an urban governmental structure that in theory would guarantee peace. That peace turned out to be a chimera, as for example in Florence, reflects perhaps a human nature that no government can fully mediate. Michael Sherberg, Washington University in St. That is not to suggest, though, that this collection of essays discourages new queries in its wake. In the introduction, Ziolkowski stages a rousing lineup of academically provocative and politically relevant questions and paradoxes.

On the political front he demonstrates how despite the fact that the Commedia is an exemplum of what is Western, Christian and Catholic, and although it was written some seven hundred years ago, what it says about Islam has become nonetheless intensely relevant. Since then the Union of Italian Muslims has also appealed to the Pope to remove such artwork from churches as well as to withdraw the teaching of the Commedia from curricula in densely immigrant regions of Italy.

On the academic front, tensions run even deeper. On the one hand a picture arises of what medieval Christendom had the potential to know about the world of medieval Islam and how Dante then presumably absorbed and redirected this knowledge. On the other hand we see how modern academics have aligned themselves to this development. The twelve articles in this volume are grouped into five categories, reflecting inquiry and insight along varied sight lines.

Burman, examines different kinds of attitudes toward and knowledge about medieval Islamic texts and culture from the perspective of medieval Christian scholars, examining specific translations, translators and their particular bents and biases. Stone and Daniela Boccassini, and uses textual evidence from the Commedia to argue for connections between Dante and Islamic philosophical and literary traditions.

In the first article the connection is drawn in terms of how allegory and metaphoric language integrate philosophy and theology in Dante as was done in earlier Islamic writings Schildgen.

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The second article suggests a link in the way intellect in the Commedia could be read as philosophically divisible into the practical and theoretical, and how this idea might reflect Islamic thinking Stone. The last article discusses how the phenomenology of falconry in the Commedia can be linked to none other than an Islamic cultural heritage Boccassini.

It breathes confidence into the process of historical inquiry to create space for a world that thinks, asks thoughtful questions of the other and listens in pursuit of the truth. This volume belongs on the shelves of Dantists and Islamic scholars alike and will appeal to those new to academia as well as to those seasoned veterans who have paved the way.

Marina Cocuzza and Joseph Farrell. Illustrations by Giovanna Nicotra. Luigi Capuana is best known as a theorist of verismo, the Italian version of European realism, which prescribed for the writer the dispassionate and objective representation of reality, however squalid. So those readers who are unfamiliar with the many interests of Capuana, ranging from photography and etching to folklore, poetry, theater and journalism, will be surprised to discover that not only did he produce a substantial amount of fairy tales, but that he engaged in the genre time and again, from to , the year of his death.

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This last collection includes one-act plays. Cocuzza and Farrell speculate that Capuana may have been directed towards the world of pure fantasy by his growing disenchantment with positivistic ideas and with scientific and mechanical progress. Children and adults alike will be delighted with the fables, while savvy readers will recognize the subtle satire of the new state that underlies some of the later tales.

Cocuzza and Farrell offer a penetrating analysis of the collected fairy tales, populated by kings, queens, princes, princesses, magicians and dragons, but also by desperately poor common folk — all endowed with recognizable human traits and instincts. Capuana never distanced himself too much from stark reality. The University of Toronto Press, The conventional view, advanced with erudition and authority by such writers as Richard Andrews and Tim Fitzpatrick, who are generously quoted here, is that the scenarios are of their essence a series of notes to actors, setting out situations or outline plots which allow performers to demonstrate their histrionic abilities and inventiveness by employing improvisational techniques.

There is a more general question in Italian theatre history concerning not just scripts themselves but relations between the actor and the author. The actor ruled at this time, but there is no discussion of individual actors or companies. There being no dispute that actors played stock parts indicated in the main by masks, the issue of creativity is then transferred to the level of individual characterisation in the scenarios.

The author believes that they contain adequate individual motivations and skilfully crafted plots, meaning that the scope for different approaches in successive productions is reduced. Crohn Schmitt is convinced that appreciation and production today require not merely knowledge of the stagecraft in the period when commedia flourished, but of cultural beliefs, social conventions, attitudes of mind and habits of life.

This she aims to provide. The first part of the book is dedicated to reconstructing the culture of post-Renaissance Italy, examining the power relations inside families and between the sexes, discussing the habits of indoor and outdoor life, analysing the class structure and the consequent freedoms afforded to the hegemonic and to the subaltern class, the mores relating to marriage and dowries and the ethics of the age. For her reconstruction, she relies largely on secondary sources and shows familiarity only with those contemporary treatises available in English.

This leads to an undue reliance on certain better known works, such as those of Alberti and Castiglione, and an unexamined assumption that these works can be taken as representative. Further, it causes her to make general statements which should be questioned even if the name of a modern scholar can be attached to it. Italian Boolshelf no stronger in Crohn Schmitt than in others, to approach the past as though it were too foreign a country, and that the way of life was extraordinarily different. In any case, Scala was no social historian, and a greater attention could have been paid not just to contemporary culture but to the conventions of theatre in his time, or perhaps of all time.

Comedy overturns standards while sexual mis conduct always makes nonsense of moral tenets and provides prompts for laughter. Crohn Schmitt creates unnecessary problems for herself when confronted with servants who do not behave with due subservience, but that had been the case since Plautus. The author is puzzled by the prevalence of women dressing as men in the comedies, and wonders if this reflects practise at the time.

Renaissance writings and debates on love leave her perplexed It is hard to know exactly what a literal translation is, in any context. The author is keen to play down, perhaps unduly so, the practise of improvisation. She stresses that performers had committed to memory set speeches and dialogues, and proposes some such speeches from authors of the time that the characters might have spoken in scenes which are only sketched. It is in this part of the book that Crohn Schmitt makes a genuine effort to make what I take to be her central case — that the scenarios should be more highly valued as plays in the now accepted sense of the word.

Alessandro Manzoni nei paesi Anglosassoni. Secondo molti critici la limitata diffusione di tali opere fu dovuta alle mediocri traduzioni e al forte messaggio cattolico espresso negli scritti di Manzoni. Nella prima parte, la distribuzione del materiale segue un ordine cronologico e un ordine tematico. La prima traduzione in inglese dei promessi sposi fu nel ad opera di Charles Swan il quale ammise di avere omesso molte parti storiche Nel seguirono ben tre traduzioni e poi altre due nel e nel Crosta inserisce molti dettagli sulle traduzioni e fornisce date precise sulle ristampe per dimostrare il vivo interesse che cresceva per il romanzo del Manzoni nei paesi anglosassoni Nelle pagine successive del libro, Crosta richiama tutte quelle dichiarazioni di scrittori e intellettuali inglesi che avevano scritto a favore delle opere manzoniane, come Mary Shelley , e di quelli che si erano ispirati a queste opere nello scrivere le loro.

Spunti manzoniani sono rintracciabili nei romanzi dello scrittore romantico Bulwer Lytton e degli scrittori vittoriani George Eliot , Elizabeth Gaskell e William Gilbert Italian Boolshelf Mazzini , Gallenga e i fratelli Ruffini , che contribuirono a diffondere le opere del Manzoni in Inghilterra. I penultimi capitoli della prima parte del libro sono dedicati al movimento di Oxford tra i cui rappresentanti Newman e Yonge si dimostrarono dei grandi ammiratori del Manzoni.

Il penultimo capitolo include il significato dei Promessi sposi come lettura dei personaggi nelle narrazioni di Donald Mitchell e di Catharine Sedgwick Italian Boolshelf dimostrare che in Gran Bretagna le opere del Manzoni furono ricevute con maggiore interesse che negli Stati Uniti. On the Erotic in Renaissance Culture, Princeton: Princeton University Press, , p. Nella maggior parte dei casi non si riesce a scorgere nessuna differenza iconografica tra cortigiane, nobildonne e addirittura novelle spose, come nel caso di Giacomo Franco 63, fig.

Vestiti lussuosi, gioielli e seni in vista sono caratteristiche sia degli abiti delle nobildonne veneziane sia delle cortigiane. Italian Boolshelf gli emendamenti restrittivi, a balli, feste e riunioni nei salotti del XVI e del XVII secolo, scene spesso trasfigurate attraverso le diciture in rubrica, come nel caso di una scena di ridotto dipinta da Flipart 80, fig. Cambridge University Press, From the perspective of Galileo Galilei , however, philosophy is written in a grand book that stands continuously open to our gaze, a mathematical masterpiece that cannot always be read in the poetical way described by Piccolomini.

For Galileo, poetry may be an ambiguous tool, and philosophy must be expressed in mathematical terms so as to avoid uncertain and equivocal interpretations: Galileo made his argument by becoming a completely new kind of philosopher and — as Piccolomini would remark — by also using, at the same time, the right amount of rhetorical sugar to help his academic and ecclesiastical opponents take his bitter medicine.

Most of the issues addressed by the author open up a variety of aspects of Italian intellectual history and will require a background in Italian epic poetry and natural philosophy in order to be fully comprehended and squarely situated within their proper realms. For this reason, this text is less suited for a general audience but presents a valuable resource for graduate classes and seminars.

La lingua di Galileo. Firenze, Accademia della Crusca, 13 dicembre A cura di Elisabetta Benucci e Raffaella Setti. Si considera dunque la scelta del volgare e della creazione di una nuova lingua per una nuova scienza. Il riferimento a Migliorini stabilisce in qualche modo un nesso tra gli otto interventi e vuole entrare nei particolari di quella polemica tutta galileiana delle parole e delle cose e di come tali parole possano catturare o adeguarsi alle cose. Si parla spesso di chiarezza e di precisione nella lingua di Galileo. Concludo con un esempio tratto dal saggio di Raffaella Setti, in cui si esamina un brano di Galileo dove, descrivendo la luna, si nota che dalla prima alla seconda stesura lo scienziato introduce una precisazione: Italian Boolshelf precisione terminologica del linguaggio scientifico: The Poetry of Giovanni Meli.

Giovanni Meli is generally recognized as the greatest poet of the Sicilian language. His copious poetic output defies classification as it is situated between the movement of Arcadia and the nascent Romanticism. Writers in the local vernaculars are at a disadvantage, since their work is accessible only to a limited readership, so translations are of key importance for making their work accessible to a vaster audience. The image of Meli that emerges is not merely that of a painter of idyllic and bucolic scenes, but of an empiricist with idealistic tendencies, a physician-poet steeped in science and philosophy and aware of social injustice, who was also endowed with an extraordinary sensitivity to the beauty of nature.

Next are selections from La buccolica Bucolic Poetry , inspired by Theocritus and comprising sonnets and idylls descriptive of the four seasons, celebrating nature and inviting to love, yet suffused with a sense of skepticism that foreshadows Leopardi. The anthology includes eighty-nine Favuli morali Moral Fables , in which Meli pursues a genre that had gained great popularity and critical esteem.

Infernal Devices by K.W. Jeter

In these works Meli shows his admiration for the animal world that lives according to its natural instincts without gratuitously harming others, while contrasting it with the predatory human species that deceives and kills through reason. He captures every shade and nuance of the original in simple, direct and modern English verse, even preserving — wherever possible — the cadence and rhyme-scheme of the original.

Dimmi, dimmi, apuzza nica: Trema ancora, ancora luci And along the field the dew la ruggiada ntra li prati: Li ciuriddi durmigghiusi Pretty flowers, sleepy-eyed, ntra li virdi soi buttuni and still snug and tightly closed stannu ancora stritti e chiusi in their verdant buds abiding, cu li testi a pinnuluni. Dopo una breve ma chiara Introduzione, si legge una essenziale Nota al testo nella quale il curatore descrive le fonti, cui segue un denso saggio sui I testi e la loro storia.

Italian Boolshelf riproduzione del ms. Il testo critico migliora in alcuni punti la lezione rispetto a quello approntato da Isella, sanando alcune sviste del precedente critico. Si segnala il commento a cura di S. Italian Boolshelf prudenzialmente di pubblicare in appendice la trascrizione del frammento unitamente alla digitalizzazione del manoscritto. Scritti polemici a cura e con introduzione di Silvia Morgana e Paolo Bartesaghi fino ai tre volumi apparsi nel Chiudono il volume una serie di indici: Nella descrizione degli stampati si notano alcune imprecisioni: In alcuni casi sfuggono i criteri impiegati: Writing Fashion in Early Modern Italy: From Sprezzatura to Satire.

The author of this book, Professor Eugenia Paulicelli, is the foremost cultural studies specialist on Italian fashion in the US. Paulicelli has published extensively on this topic, focusing on an impressive diversity of historical periods, including the Middle Ages, the Fascist ventennio, and contemporary times. She is currently working on a study of fashion in postwar Italy. As the title makes clear, her latest volume under review here looks at clothing and fashion during the early modern period in Italy: The book is divided in three parts, each of which consists of two chapters that are in turn broken down into multiple subsections.

Italian Boolshelf that characterizes that time period. Emphasis is placed on defining an Italian identity through clothes, within a moral geography centered on Europe. Hair, Wigs and Other Vices. Her Paternal Tyranny describes hair as a contested signifier of gender: The sixth and final chapter, with which the book ends rather abruptly: The discussion of Lampugnani leads Paulicelli, on her last page, to make some timely observations about the power of fashion in shaping culture, and the anxiety provoked precisely by an awareness of this power.

Fashion is seductive because it allows for multiple identities and selves, and for this very reason moralists have condemned it for centuries, as can be seen in the literary narratives examined in this volume. This well-researched and well-organized book is bound to appeal to a variety of readers: My only criticism concerns not the content of the study, but the level of copyediting done by Ashgate Press. The book, in my view, ought to have been edited for readability and idiomatic English, whereas it currently reads, in places, as an all-too-literal translation from the Italian, with awkward and unclear passages that impede a smooth reading.

Dal punto di vista teorico, prendere in considerazione i fallimenti delle tragedie di Foscolo significa analizzare i suoi scritti di critica letteraria, contemporanei o posteriori alle sue opere teatrali, da una nuova prospettiva. Dopo la sezione introduttiva, in cui Walsh delinea il piano della sua opera, troviamo, nel primo capitolo, un compendio della situazione del teatro tragico italiano nel diciottesimo secolo. Nel terzo capitolo, la studiosa analizza dettagliatamente le vicende legate alla composizione e alla rappresentazione della seconda tragedia foscoliana, Ajace.

Il quinto capitolo si focalizza sulle riflessioni finali di Foscolo in materia di genere tragico e sul contributo che egli dette, attraverso i suoi scritti, al dibattito fra classicisti e romantici. This monumental volume of pages, published in occasion of the homonymous exhibition held between Venice and Pavia at the beginning of , is the product of a scholarly effort of extensive proportions. The biographies of all artists protagonists of the exhibition are also part of the volume.

The third section includes four short essays on specific case studies relative to the exhibition, whereas the following chapter displays most of the prints of the exhibited works of art and a series of swift biographies of the artists prominent in the exhibit. Valmore, , its third part contains four interesting essays relative to the exhibition itself.

Leonardo Clerici introduces us to the Sarenco Collection with a dense, playful, and poetic associative text, and Allegrini reconstructs the history of the poetic ceramics first conceived by Sarenco and executed by ceramist Michelangelo Marchi. In conclusion, Visual Poetry, in spite of having as main referent the wider public, is an editorial project that constitutes a useful point of reference for scholars working in that area of study. One could have only wished for a more systematic ordering of the essays, and a more thorough planning of their contents, as not only some information is repeated throughout the book, but some aspects of the mutual influences that occurred between Italian and international authors are left less explored I am referring especially to the German, Swiss, and Latin American contributions.

However, the high quality reproduction of art works that characterizes SKIRA editions and the wide array of authors here included make the volume one of the most complete and useful publications to date on this form of artistic expression. Italian Boolshelf Pierpaolo Antonello. La foto in copertina di un Pasolini pensieroso che guarda dritto verso la telecamera seduto di spalle verso una biblioteca piena di libri, potrebbe fungere da simbolo: Fascist Italy and the Middle East, In a compelling introduction, Arielli describes how assessments of the Fascist policy remain divided.

However, for British and North American historians e. Seeking to mediate between these two schools of thought, Arielli approaches the topic by considering domestic and economic forces, in addition to European foreign policy and expansionistic claims. The remainder of the introduction describes the organization of the volume in six separate sections and concludes with an important observation about the methodological difficulties that studies of this sort pose since the Arab perception of the Fascist policy remains somewhat difficult to assess.

Arielli discusses how the regime, in its effort to find support for its claims on Ethiopia, launched a propaganda campaign that presented the Abyssinians as enemies of Egypt and Islam. Headed by Ugo Dadone, this agency disseminated all sorts of pro-Italian material in French and Arabic. In Egypt the campaign in Abyssinia was vigorously opposed and the only support that it received came from the Italian communities residing in Alexandria, Cairo, Port Said, and Suez.

Jewish opinion in Palestine, including that of Zionists, also remained unfavorable towards Italy. Arielli examines, once again, the central role played by Ciano in consolidating and presenting the Fascist Middle Eastern policy at home and abroad.