Search results for ""author ross"

It was only a forty-minute foreign film, but it sparked a legal confrontation that has left its mark on America for more than half a century. Roberto Rossellini's ""Il Miracolo"" (""The Miracle"") is deceptively simple: a demented peasant woman is seduced by a stranger she believes to be Saint Joseph, is socially ostracized for becoming pregnant out of wedlock, but is finally redeemed through motherhood.Although initially approved by state censors for screening in New York, the film was attacked as sacrilegious by the Catholic establishment, which convinced state officials to revoke distributor Joseph Burstyn's license. In response, Burstyn fought back through the courts and won.Laura Wittern-Keller and Raymond Haberski show how the Supreme Court's unanimous 1952 ruling in Burstyn's favor sparked a chain of litigation that eventually brought filmmaking under the protective umbrella of the First Amendment, overturning its long-outdated decision in Mutual v. Ohio (1915). Their story features a more formidable cast than did the film itself, with the charismatic Francis Cardinal Spellman decrying the film as a Communist plot, while outspoken film critic Bosley Crowther vigorously advocated ""freedom of the screen."" Meanwhile, movie producers stood by silently for fear of alienating the Church and its large movie-going membership, leaving Burstyn to muster his own defense.More than the inside story of one case, this book explores the unique place that the movies occupy in American culture and the way that culture continues to be shaped by anxiety over the social power of movies. The Burstyn decision weakened the ability of state censorship boards and the Catholic Church to influence the types of films Americans were allowed to see. Consequently, the case signaled the rise of a new era in which films would be more mature and more controversial than ever before.Focusing on this single most important case in the jurisprudence surrounding motion picture expression, Wittern-Keller and Haberski add a significant new dimension to the story of cinema, censorship, and the history of First Amendment protections.

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In this truly beautiful book, Andrea Zanatelli combines his extraordinary artworks with a selection of classical love poetry by Anne Brontë, William Blake, Christina Rossetti, Emily Dickinson, Percy Shelley and many more.Drawing its inspiration from the past, Love is Enough references the decorative arts of a bygone era, and is a combination of romantic imagery, antique fabrics and allegorical illustrations, mixed with poems and mottos. Often mistaken for real embroidery pieces, the artworks are in fact very detailed and intricate digital collages, made to look and feel like handcrafted works.Zanatelli is strongly influenced by the Arts and Crafts movement and the Pre-Raphaelites as well as eighteenth-century collage artist and creator of the Flora Delanica, Mary Delany, among others. Recurring themes in his work are romantic love, magical symbols, Victorian era craftsmanship, historical nun’s work and relics. Details of paintings, ancient fabrics, antique jewellery and miniatures are also returning elements as they often become an integral part of the inspiration for the collages themselves.This stunning book is full of intricate detail and brimming with romance, so you can return to its pages again and again.

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This survey of computability theory offers the techniques and tools that computer scientists (as well as mathematicians and philosophers studying the mathematical foundations of computing) need to mathematically analyze computational processes and investigate the theoretical limitations of computing. Beginning with an introduction to the mathematisation of “mechanical process” using URM programs, this textbook explains basic theory such as primitive recursive functions and predicates and sequence-coding, partial recursive functions and predicates, and loop programs. Advanced chapters cover the Ackerman function, Tarski’s theorem on the non-representability of truth, Goedel’s incompleteness and Rosser’s incompleteness theorems, two short proofs of the incompleteness theorem that are based on Lob's deliverability conditions, Church’s thesis, the second recursion theorem and applications, a provably recursive universal function for the primitive recursive functions, Oracle computations and various classes of computable functionals, the Arithmetical hierarchy, Turing reducibility and Turing degrees and the priority method, a thorough exposition of various versions of the first recursive theorem, Blum’s complexity, Hierarchies of primitive recursive functions, and a machine-independent characterisation of Cobham's feasibly computable functions.

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Whether the rapt trances of Romanticism or the corpse-like figures that confounded Victorian science and religion, nineteenth-century depictions of bodies in suspended animation are read as manifestations of broader concerns about the unknowable in Anne C. McCarthy’s Awful Parenthesis. Examining various aesthetics of suspension in the works of poets such as Coleridge, Shelley, Tennyson, and Christina Rossetti, McCarthy shares important insights into the nineteenth-century fascination with the sublime. Attentive to differences between "Romantic" and "Victorian" articulations of suspension, Awful Parenthesis offers a critical alternative to assumptions about periodization. While investigating various conceptualizations of suspension, including the suspension of disbelief, suspended animation, trance, paralysis, pause, and dilatation, McCarthy provides historically-aware close readings of nineteenth-century poems in conversation with prose genres that include devotional works, philosophy, travel writing, and periodical fiction. Awful Parenthesis reveals the cultural obsession with the aesthetics of suspension as a response to an expanding, incoherent world in crisis, one where the audience is both active participant and passive onlooker.

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British literature of the Victorian period has always been celebrated for the quality, innovativeness, and sheer profusion of its love poetry. Every major Victorian poet produced notable poems about love. This includes not only canonical figures, such as Alfred Lord Tennyson, Robert and Elizabeth Barrett Browning, and Christina Rossetti, but also lesser-known poets whose works have only recently become widely recognized and studied, such as Augusta Webster and the many often anonymous working-class poets whose verses filled the pages of popular periodicals. Modern critics have claimed, convincingly, that love poetry is not just one strain of Victorian poetry among many; it is arguably its representative, even definitive, mode.This collection of essays reconsiders the Victorian poetry of love and, just as importantly, of intimacy—a more inclusive term that comprehends not only romance but love for family, for God, for animals, and for language itself. Together the essays

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The Tate Britain Companion to British Art draws on Tate Britain's unrivalled collection to provide a lively, orginal and informative introduction to the story of art in Britain over the last five hundred years. Considering themes such as fashion, eating, childhood, occultism, science, empire, religion and Postmodernism, Richard Humphreys examines works by all the major artists, both in their own right and placed in broader contexts to convey their full richness and beauty. The cast of characters includes great historical figures such as Holbein, Van Dyck, Hogarth, Blake, Constable, Turner, Rossetti and Sargent; modern masters, and mistresses, such as Gwen John, Stanley Spencer, Henry Moore, Barbara Hepworth and Francis Bacon; and leading contemporary artists from David Hockney, Peter Blake and Lucian Freud to Gilbert and George, Damien Hirst and Rachel Whiteread. Beginning in Tate Britain's legendary restaurant and the strangely familiar land of Epicurania, the book offers a varied menu of treats, including Sir Thomas More and his monkey, Cromwellian art-smasher William Dowsing, gay connoisseur and spy Baron von Stosch, soft pornographer-vicar Matthew Peters, sheep farmer and pioneer photographer Samuel Butler, Simpkin the cat, a metaphysical garden or two, Robby the Robot, James Bond, and an exploding garden shed.

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A Cinema of Poetry brings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer. Joseph Luzzi considers the relation between film and literature, especially the cinematic adaptation of literary sources and, more generally, the fields of rhetoric, media studies, and modern Italian culture. The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relation between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression-what Pasolini called the "cinema of poetry." While Luzzi establishes how certain qualities of film-its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art-have reshaped centuries-long debates, A Cinema of Poetry also explores what is specific to the Italian art film and, more broadly, Italian cinematic history. In other words, what makes this version of the art film recognizably "Italian"?

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"This book is refreshingly personal and studded with insightful case study examples. It is a timely and major contribution to the literature of adult education." --Jack Mezirow, professor emeritus, Adult and Continuing Education, Teachers College, Columbia University "A brilliant tribute to the value of teachers intentionally guiding students to sharpen what I believe Howard Gardner has named intrapersonal intelligence." --Margaret Holt, assistant professor, University of Georgia, Athens "A valuable contribution to the growing dialogue centering around narrative approaches to education, autobiographical learning, and ways in which autobiographical activities stimulate personal growth and transformative learning." --Marsha Rossiter, associate director, Division of Continuing Education and Extension, University of Wisconsin, Oshkosh This is the first professional guide to using educational biography with adult learners. It offers engaging anecdotes and narratives, insightful interpretations and analyses, and numerous examples of different biographical approaches. Written for practitioners who conduct adult educational programs in formal or informal settings, this book can help teachers, trainers, career counselors, and human resource professionals to empower learners in assuming greater responsibility for their education and development. Pierre Dominice draws valuable lessons from his work with educational biography to describe the multiple ways in which adults think and learn. His explorations help educators to stay focused on learning and not just teaching.

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This book presents the Gianfranco Luzzetti collection housed in the historic complex of the former convent of the Clarisse in Grosseto, a new museum in the city. The collection is the result of the donation to the Municipality, in 2018, of over 60 works from the personal heritage of Luzzetti, an antiquarian from Grosseto, deeply linked to his land. The paintings, of great quality, trace Italian art from the 14th to the 19th century, with particular attention to Florentine art of the 17th century. The collection includes masterpieces by Antonio Rossellino, Giambologna, Rutilio Manetti, Passignano, Niccolò di Pietro Lamberti, Corrado Giaquinto, Camillo Rusconi, Pier Dandini and Giovanni di Tano Fei, as well as important works by Donatello and Beccafumi and works already donated to the Municipality of Grosseto in past years, of Santi di Tito and Cigoli. This volume, with introductory texts regarding the history of the site, the birth of the Museum and the Collection, is complemented by an anthology of writings by Luzzetti and bibliographic apparatuses. Research and texts: Sandro Bellesi, Marco Ciampolini, Roberto Contini, Elena Dubaldo, Lucia Ferri, Claudia Ganci, Cecilia Luzzetti, Gianfranco Luzzetti, Andrea Marchi, Mauro Papa, Marcella Parisi, Francesca Perillo, Gianluca Sposato, Angelo Tartuferi. Italian edition, with English translation in the appendix.

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A stunning gift book containing 150 bold, brave and beautiful poems by women – from classic, well loved poets to innovative and bold modern voices. From suffragettes to school girls, from spoken word superstars to civil rights activists, from aristocratic ladies to kitchen maids, these are voices that deserve to be heard. Collected by anthologist Ana Sampson She is Fierce: Brave, Bold and Beautiful Poems by Women contains an inclusive array of voices, from modern and contemporary poets. Immerse yourself in poems from Maya Angelou, Nikita Gill, Wendy Cope, Ysra Daley-Ward, Emily Bronte, Carol Ann Duffy, Fleur Adcock, Liz Berry, Jackie Kay, Hollie McNish, Imtiaz Dharker, Helen Dunmore, Emily Dickinson, Mary Oliver, Christina Rossetti, Margaret Atwood and Dorothy Parker, to name but a few!Featuring short biographies of each poet, She is Fierce is a stunning collection and an essential addition to any bookshelf.The anthology is divided into the following sections:Roots and Growing UpFriendshipLoveNatureFreedom, Mindfulness and JoyFashion, society and body imageProtest, courage and resistanceEndings'Covering everything from love and freedom to protest and body images, dip in and embrace words of beauty on a daily basis.' – Stylist'Women sometimes get overlooked in poetry anthologies, but She is Fierce more than makes up for it.' – Independent

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Their Bohemian lifestyle and intertwined love affairs shockingly broke 19th Century class barriers and bent the rules that governed the roles of the sexes. They became defined by love triangles, played out against the austere moral climate of Victorian England; they outraged their contemporaries with their loves, jealousies and betrayals, and they stunned society when their complex moral choices led to madness and suicide, or when their permissive experiments ended in addiction and death. The characters are huge and vivid and remain as compelling today as they were in their own time. The influential critic, writer and artist John Ruskin was their father figure and his apostles included the painter Dante Gabriel Rossetti and the designer William Morris. They drew extraordinary women into their circle. In a move intended to raise eyebrows for its social audacity, they recruited the most ravishing models they could find from the gutters of Victorian slums. The saga is brought to life through the vivid letters and diaries kept by the group and the accounts written by their contemporaries. These real-lie stories shed new light on the greatest nineteenth-century British art.

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‘Love set you going’. The opening words of Sylvia Plath’s poem for her newborn daughter are true of each one of us. Love is fundamental to our being, our growth, our development and our happiness. Love enables us to make meaning of our lives in the world, and it gives us hope for what lies beyond. It is completely humdrum and ordinary – yet mysterious beyond words. Beginning in the body, it points us to eternity. Life offers, and asks of us, many different kinds of love, and poets have reflected on this truth with insight and acute observation. As Janet Morley explores love ‘up and down the generations’, ‘grown up love’ and love between ‘God and the human heart’, she reveals what our hearts eventually discern – love has its seasons and ambiguities, its certainties and passions. Love is never simple at all. W. H. Auden * Rupert Brooke * Charles Causley * John Clare * Gillian Clarke * Samuel Taylor Coleridge * Christine De Luca * Imtiaz Dharker * Emily Dickinson * John Donne * Carol Ann Duffy * Ruth Fainlight * U. A. Fanthorpe * Seamus Heaney * George Herbert * Gerard Manley Hopkins * Ted Hughes * John of the Cross * Jane Kenyon * D. H. Lawrence * Edwin Morgan * Sinéad Morrissey * Sylvia Plath * Christina Rossetti * Siegfried Sassoon * E. J. Scovell * William Shakespeare * R. S. Thomas * Rosemary Tonks * Andrew Waterhouse * Charles Wesley * Rowan Williams * Thomas Wyatt

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La Maternidad de Elna es el testimonio emocionante de unas mujeres que, estando a punto de dar a luz, fueron rescatadas de los campos de concentración republicanos de Sant Cebrià de Rosselló, Argelers y Ribesaltes, donde vivían en lamentables condiciones y fueron acogidas en una maternidad que fundó la maestra suiza Elisabeth Eidenbenz. Allí pudieron ver nacer y alimentar a sus bebés en condiciones excepcionales.La Maternidad de Elna es pues la heroica historia de una mujer que salvó a 597 recién nacidos de una muerte segura.Había una madre que no tenía leche y el niño lloraba de hambre día y noche. Cuando se agotaba de tanto llorar, se dormía y ella le daba calor con su cuerpo. Cuando salía el sol, enterraba al bebé en la arena hasta que le dejaba fuera sólo la cabecita. La arena le servía de manta. Pero al cabo de unos días el niño se murió de frío y de hambre.Yo estaba embarazada y con sólo pensar quemi hijo nacería en aquel infierno me desesperaba.

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Encuadernación: RústicaChiara Ridolfi acaba de salir del colegio inglés en el que ha pasado toda su infancia. Viaja a Florencia a vivir con su padre y su tia, descendientes de una noble familia donde se enamorará perdidamente del doctor Salvatore Rossi, un hombre recio, hecho a sí mismo y con una inmensa conciencia de clase. Pero las cosas se complican en su primer encuentro, en un concierto para violín de Brahms, donde el mundo parece confabularse para que sientan que todo se interpone en su camino. Las personalidades de ambos, insegura ella e inflexible él, ayuda a hacer de su vida algo insoportable. Hasta que alguien decide adoptar una medida sorprendente y extrema, fruto de una peculiaridad ancestral del temperamento familiar.Penelope Fitzgerald, autora de La librería y El inicio de la primavera, nos sumerge en una nueva novela tremendamente seductora, creando un universo real y completo, casi tangible, en el que es posible encontrar un auténtico prodigio tras cada esquina.

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A stunning gift book featuring 130 poems about wanderlust, freedom and escape written by women. With poems from classic, well loved poets as well as innovative and bold modern voices, She Will Soar is a stunning collection and an essential addition to any bookshelf. From the ancient world right up to the present day, it includes poems on wanderlust, travel, daydreams, flights of fancy, escaping into books, tranquillity, courage, hope and resilience. From frustrated housewives to passionate activists, from servants and suffragettes to some of today’s most gifted writers, here is a bold choir of voices demanding independence and celebrating their hard-won power.Immerse yourself in poems by Carol Ann Duffy, Christina Rossetti, Stevie Smith, Sarah Crossan, Emily Dickinson, Salena Godden, Mary Jean Chan, Charly Cox, Nikita Gill, Fiona Benson, Hollie McNish and Grace Nichols to name but a few

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The Conquerors charts the rise, fall and resurgence of AC Milan across one of the club's most legendary eras. Fresh from a coaching baptism of fire at either end of the top Italian divisions, former club favourite Carlo Ancelotti returned to a then-disjointed Rossoneri dressing room as first-team manager in 2001. Out of sorts, out of form and out of touch with the standards set by the side in Ancelotti's day, AC Milan found a much-needed stabilising influence in the new coach, who helped them through a phase of transition. Though his impact wasn't immediate, nor without its share of dissenters, Ancelotti would ultimately return the team to its former glory. The Conquerors is a homage to one of the greatest club sides in football history. It's a story of incredible talent, iconic moments and the kind of improbable redemption usually reserved for Hollywood movie scripts.

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The Honey Gatherers takes its title from a phrase in Michael Ondaatje’s The Cinnamon Peeler, a poem which describes the need to be marked, and marked out, by love. The search, the sweetness, the sting and the death of love, are all to be found in this anthology. Wide-ranging in its inclusiveness, The Honey Gatherers celebrates the great passions of John Donne, Christina Rossetti, Shakespeare, Keats, Sir Thomas Wyatt and the beloved Anon, whilst con?rming the extraordinary gift to this headlong debate of 20th century poets. Pablo Neruda, Lorna Goodison, Brian Patten, Adrienne Rich, Tess Gallagher, W.H. Auden, Stevie Smith, Dorothy Parker, John Montague, Thom Gunn, Carol Ann Duffy and Sharon Olds are just some of those who meet in these pages. Here are poems about romantic love, the ideal of love, the hurt of love, lost or unrequited love and parting – all you might expect to ?nd in such a gathering – but here too are poems of friendship, surprise, celebration and consolation. This is a book which explores Raymond Carver’s big question ‘And what did you want?’ and offers some answers: ‘To call myself beloved, to feel myself beloved on the earth.’ – Raymond Carver: ‘Late Fragment’ Most love poetry anthologies only cover the classics. This one includes modern poets and erotic poetry as well.

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The story of how a group of precocious young artists shook up the British art establishment, told through their works, letters and diaries. An illustrated history of the linked lives and loves of a group of supremely talented artists of late Victorian Britain through their passionate writings. It features the painters, poets, critics and designers: Ford Madox Brown, Edward Burne-Jones, Fanny Cornforth, William Holman Hunt, John Everett Millais, William and Janey Morris, Christina, Dante Gabriel, and William Rossetti, John Ruskin, William Bell Scott and Lizzie Siddal. The artistic aspirations and achievements of the Pre-Raphaelite Brotherhood are revealed alongside the interwoven dramas of their personal lives, in letters, diaries and reminiscences, while their genius is displayed in vivid paintings, drawings, designs and poems. The Pre-Raphaelites was a charmed circles of love, friendship and art. Within an ever-changing flow of affections, and intimacies as richly patterned as a tapestry, they worked together as companions, lovers and partners. They shared tragedy as well as happiness, critical hostility as well as success, even the griefs of infidelity and discord. These creative partnerships, which also created the firm William Morris and Co, revitalised Victorian art and design. The new edition publishes in time for the start of the Burne Jones Exhibition at Tate Britain, starting in October 18. It is a vital book in understanding the Pre-Raphaelite art, which remains as popular and moving as ever.

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With Reading the Obscene, Jordan Carroll reveals new insights about the editors who fought the most famous anti-censorship battles of the twentieth century. While many critics have interpreted obscenity as a form of populist protest, Reading the Obscene shows that the editors who worked to dismantle censorship often catered to elite audiences composed primarily of white men in the professional-managerial class. As Carroll argues, transgressive editors, such as H. L. Mencken at the Smart Set and the American Mercury, William Gaines and Al Feldstein at EC Comics, Hugh Hefner at Playboy, Lawrence Ferlinghetti at City Lights Books, and Barney Rosset at Grove Press, taught their readers to approach even the most scandalizing texts with the same cold calculation and professional reserve they employed in their occupations. Along the way, these editors kicked off a middle-class sexual revolution in which white-collar professionals imagined they could control sexuality through management science. Obscenity is often presented as self-shattering and subversive, but with this provocative work Carroll calls into question some of the most sensational claims about obscenity, suggesting that when transgression becomes a sign of class distinction, we must abandon the idea that obscenity always overturns hierarchies and disrupts social order. Winner of the 2022 MLA Prize for Independent Scholars, sponsored by the Modern Language Association

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The end of the Second World War saw the emergence of neorealist film in Italy. In Italian Neorealist Cinema, Christopher Wagstaff analyses three neorealist films that have had significant influence on filmmakers around the world. Wagstaff treats these films as assemblies of sounds and images rather than as representations of historical reality. If Roberto Rossellini's Roma citt aperta and Pais , and Vittorio De Sica's Ladri di biciclette are still, half a century after they were made, among the most highly valued artefacts in the history of cinema, Wagstaff suggests that this could be due to the aesthetic and rhetorical qualities of their assembled narratives, performances, locations, lighting, sound, mise en sc ne, and montage. This volume begins by situating neorealist cinema in its historical, industrial, commercial and cultural context, and makes available for the first time a large amount of data on post-war Italian cinema. Wagstaff offers a theoretical discussion of what it means to treat realist films as aesthetic artefacts before moving on to the core of the book, which consists of three studies of the films under discussion. Italian Neorealist Cinema not only offers readers in Film Studies and Italian Studies a radically new perspective on neorealist cinema and the Italian art cinema that followed it, but theorises and applies a method of close analysis of film texts for those interested in aesthetics and rhetoric, as well as cinema in general.

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Complicating Articulation in Art Cinema argues that art cinema draws attention to its disjointed, multi-parted form, but that criticism has too frequently sought to explain this complexity away by stitching the parts together in totalizing readings. This stitching together has often relied on the assumption that the solution to art cinema's puzzles lies in interpreting each film as the expression of a focalizing character's internal disturbance. This book challenges this assumption. It argues that the attempt to explain formal complexity through this character-centric approach reduces formal achievements and enigmatic characters to inadequate approximations of one another. Reference to character cannot fully tame unschematic and unpredictable combinations of - and collisions between - contradictory levels of narration, clashing styles, discontinuously edited shots, jarring allusions, dislocated genre signifiers, and intermedial elements. Through close analyses of films by Roberto Rossellini, Robert Bresson, Luis Buñuel, Terence Davies, Peter Greenaway, and Kelly Reichardt, Complicating Articulation in Art Cinema offers an ethics of criticism that suggests that the politics of art cinema's eccentric form are limited by character-centred readings. Each of the featured films presents inarticulate characters, whose emotional and intellectual lives are unknowable, further complicating the relationship between character and form. This book argues that, by acknowledging this resistance to interpretation, critics can think in new ways about art cinema's interrogation of the possibilities of knowledge.

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Elegant and graceful, glass bells are favored by many bell collectors as well as collectors and admirers of fine glass. This stunning book showcases over 750 glass bells dating from the eighteenth century to the twenty-first century, with over 29 countries represented. Included are cut glass bells, blown and pressed glass bells, engraved bells, and the magnificent, highly desirable glass wedding bells. Among the companies and artists represented are Dorflinger, Hawkes, Pairpoint, Seneca, Sinclaire, Fenton, Fostoria, Val St. Lambert, Goebel, Rossi, Moser, Hofbauer, Wedgwood, Pepi Herrmann, Glen Jones, and many others. The bell type, country of origin, maker, and date (if known) are identified for each bell, along with a general description, size, color, pattern or decoration, and current value. Background information on the history of glass bells and special chapters discussing manufacturer attribution and the various owners of bell molds are also included. A splendid addition to the libraries of bell collectors, glass enthusiasts, and all who appreciate beautiful artistry.

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In Giovanni le apparizioni del Risorto occupano i capitoli 20 e 21. L’ultimo è a volte considerato un’appendice o un’aggiunta. Come possono creare un insieme ben composto? Il libro affronta la sfida di presentare la composizione di Gv 20–21 come un insieme ben strutturato. L’applicazione dell’analisi retorica biblica illustra come la composizione fornisca la chiave per aprire la porta del messaggio del testo. Lo studio è organizzato in quattro rubriche: Testo, Composizione, Contesto e Interpretazione. Nella prima vengono considerate le questioni di critica testuale, grammatica e lessicografia. La seconda evidenzia la composizione del testo con i suoi rapporti interni. La terza contempla i rapporti esterni con altri testi simili che illuminano il testo studiato. Il percorso esegetico è completato dall’interpretazione, il frutto delle tappe precedenti. Come sono legati gli ultimi due capitoli di Giovanni? Uno dei fili rossi nella trama del testo è quello del credere. Se la questione chiave di Gv 20 è la fede dei discepoli nella risurrezione del Maestro, ossia Fratello (cf. 20,17), necessaria per ricevere la missione, la chiave di Gv 21 è la fede nel Figlio tornato al Padre ma rimasto nel suo Spirito, per accompagnare la loro missione. Se Gv 20 racconta il tramonto della storia terrena di Gesù, Gv 21 segna già l’alba della storia della Chiesa. I due racconti sono diversi, come due giorni separati da una notte, però molto simili, perché illuminati ugualmente dalla medesima luce divina che, se vista dall’alto, non cessa mai di brillare.

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This is an enchanting collection of art, verse and prose. It is a delightful celebration of the power, agony and ecstasy of love, including poignant and evocative works of art, poetry and prose. It includes the immortal verse of classical poets such as Sappho, Shakespeare, Dante and Marlowe as well as the great romantics: John Keats, Lord Bryon, William Blake, Christina Rossetti, Edgar Allen Poe and Emily Dickinson. It works of art by Frank Dicksee, Holman Hunt, Alma-Tadema, JW Waterhouse, Jean-Honore Fragonard, and many more, capture the yearning and rapture of love. With chapters on discovery and rapture, loves lost and unrequited, love's stratagems, and undying love, this little book covers all the great aspects of love. Using the familiar and poignant words of Shakespeare's famous sonnets as well as less well-known passages such as the witty and cajoling "To Celia" by Ben Jonson, all the moods and expressions of falling in love are portrayed. Wise words from Ovid, a passionate appeal from Andrew Marvell, the coldhearted observations of Choderlos de Laclos from Les Liasons Dangereuses, the haunting verses of "La Belle Dame Sans Merci" by John Keats, all bear witness to the exquisite symptoms of being transported by love, while sumptuous, poignant or joyous fine art paintings perfectly illustrate the extracts. It is a delightful tribute to this very human emotion.

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While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.

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While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.

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_______________ ‘Edward Said had a lifelong passion for music, and possessed the rare ability to write about it for the general reader with a lucid and penetrating intelligence' - TLS ‘There are few whose command of words is sufficient not only to illuminate music, but to help music illuminate the world of those who make and listen to it. Said was one' - Daily Telegraph 'The sheer eloquence of Said's writings reminds us that with his untimely death we have lost one of our most distinguished music critics.' - Maynard Solomon, The Julliard School _______________ WITH A FOREWORD BY DANIEL BARENBOIM Music at the Limits brings together three decades of Edward W. Said's essays and articles on music. Addressing the work of a wide variety of composers and performers, Said analyses music's social and political contexts, and provides rich and often surprising assessments. He reflects on the censorship of Wagner in Israel; the relationship between music and feminism; and the works of Beethoven, Bruckner, Rossini, Schumann, Stravinsky and others. Always eloquent and often surprising, Music at the Limits reinforces Said's reputation as one of the most influential writers of the twentieth century. _______________ ‘This fine collection by one of the most perceptive music critics of the last half-century is highly recommended' - Library Journal

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Smell loomed large in cultural discourse in the late nineteenth century, thanks to the midcentury fear of miasma, the drive for sanitation reform, and the rise in artificial perfumery. Meanwhile, the science of olfaction remained largely mysterious, prompting an impulse to “see smell” and inspiring some artists to picture scent in order to better know and control it. This book recovers the substantive role of the olfactory in Pre-Raphaelite art and Aestheticism.Christina Bradstreet examines the iconography and symbolism of scent in nineteenth-century art and visual culture. Fragrant imagery in the work of John Everett Millais, Dante Gabriel Rossetti, Simeon Solomon, George Frederic Watts, Edward Burne-Jones, and others set the trend for the preoccupation with scent that informed swaths of British, European, and American art and design. Bradstreet’s rich analyses of paintings, perfume posters, and other works of visual culture demonstrate how artworks mirrored the “period nose” and intersected with the most clamorous debates of the day, including evolution, civilization, race, urban morality, mental health, faith, and the “woman question.”Beautifully illustrated and grounded in current practices in sensory history, Scented Visions presents both fresh readings of major works of art and a deeper understanding of the cultural history of nineteenth-century scent.

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Status Quo? All their songs sound the same and they only know three chords' Really? This retrospective of one of Britain's most successful bands takes this lazy criticism and puts it to the sword. Spanning the period 1970 to 1984, the creative peaks and troughs of all the songs recorded by 'The Frantic Four' are examined in detail by a fan who can play guitar a bit, and also knows his Bach from his byte. Francis Rossi, Rick Parfitt, Alan Lancaster, and John Coghlan withstood the slings and arrows of unending criticism to become a national institution, even playing to Royalty along the way. After their early, psychedelic-influenced and fleeting pop success, Quo underwent a dramatic and natural re-invention, unleashing a series of innovative albums and hit singles, such as 'Down Down' and 'Rockin' All Over The World' that established their unique sound and style. Relentless touring, changes in musical direction, unwise choices of producer, substantial substance abuse, and personality clashes, all played their part in the collapse of the classic line-up before a brand re-launch in 1986 that enjoys continued success to the present day. Status Quo - The Frantic Four Years on track examines the band's groundbreaking first era with critical detail and honest opinions.

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Nightmare Abbey is a novella by Thomas Love Peacock, first published in 1818, widely considered to be Peacock’s most enduringly popular work. The narrative centres on Christopher Glowry, a miserly widower, his son Scythrop and a host of dismal-sounding servants in his family pile, Nightmare Abbey. Recovering from an ill-fated love affair, Scythrop dreams up various schemes to reform and regenerate the human species, but misanthropy lurks around every corner, and everything changes when a mermaid is spotted and a strange woman appears in his chamber. Although fundamentally a Gothic novel, and rich in allusion – from Pope to Dante, Rossini to Mozart – Nightmare Abbey is, at heart, a satire, as Peacock makes clear in the preface to a later edition, in which he describes the characters – allusions to his friends – as ‘status-quo-ites’, ‘morbid visionaries’, ‘romantic enthusiasts’ and ‘lovers of good dinners’.

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Autumn 1958 marked the launching of the Bodensee-Wasserversorgung (Lake Constance water supply), an infrastructure project whose largest part is underground, hidden from view. Even in the first phase of the project, 2160 litres of water per second were taken from Lake Constance at a depth of roughly 60 m, treated on Sipplinger Berg and transported over hundreds of kilometres of pipeline through the Swabian Alb to the greater Stuttgart area. What is remarkable about this project, however, is not only the technological challenge of a combination of the lake-water treatment and the overland water pipeline, but particularly the special quality of the design of the visible parts of the waterworks, a result of the collaboration of engineers, architects, landscape designers and artists. Hermann Blomeier, who had settled in Constance in 1932 after graduating from the Bauhaus Dessau under Ludwig Mies van der Rohe, was commissioned with implementing the Sipplingen pumping station following a competition and, with functionally and transparently designed buildings, created a counterpoint to the expressive landscape of Lake Constance that was as restrained as it was confident. The treatment plants on Sipplinger Berg, built by a team comprising Blomeier and the architect and academic Günter Wilhelm, from the 'Quelltopf' (source pot) and the filter basins to the clean-water reservoir, exactly meet functional requirements and at the same time impressively illustrate the technical processes. The long distance travelled by the water is accompanied by seemingly subordinate buildings designed by architect Wolf Irion, subtly integrated in the landscape as a kind of wayside chapels, housing the pipe-rupture safety devices and line valves. The high quality of the design is evident not only in the buildings, but also in the work of landscape architect Walter Rossow and of visual artists Hans-Dieter Bohnet, Martin Matschinsky and Brigitte Matschinksy-Denninghof. Andreas Schwarting is professor of architectural history and architecture theory at the Hochschule Konstanz. His research has focussed particularly on 20th-century architecture, its reception and historiography, and on specific issues of conservation and maintenance. His publications include the monograph on Walter Gropius Dessau-Törten estate, and he was instrumental in the publication of the Stiftung Wüstenrot on the preservation of contemporary buildings. He was appointed by the International Council on Monuments and Sites (ICOMOS) to monitor the UNESCO world-heritage sites of the Bauhaus in Weimar and Dessau.

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To many vintage guitar fans it seems inconceivable that Gibson dumped the Sunburst Les Paul in 1960 and during the following year introduced a completely new design the one that we know now as the SG ( solid guitar ).ÞAt the time however it made good business sense. Sales of the Les Paul were faltering and Gibson decided to blow a breath of fresh air through its solidbody electric guitar line. The company described the result as an ultra-thin hand-contoured double-cutaway body. The modernistic amalgam of bevels and points and angles was a radical departure and this new book tells the story of all the SG models that followed: the Junior Special Standard Custom and more.ÞThere are interviews with and stories about Gibson personnel through the years and all the major SG players including Pete Townshend Frank Zappa Eric Clapton Angus Young George Harrison Gary Rossington Tony Iommi and Derek Trucks.ÞIn the tradition of Tony Bacon's bestselling series of guitar books ÊThe SG Guitar BookÊ is three great volumes in one package: a collection of drool-worthy pictures of the coolest guitars; a gripping story from the earliest prototypes to the latest exploits; and a detailed collector's database of every production SG model ever made.

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A Cinema of Poetry brings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer. Joseph Luzzi considers the relation between film and literature, especially the cinematic adaptation of literary sources and, more generally, the fields of rhetoric, media studies, and modern Italian culture. The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relation between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression-what Pasolini called the "cinema of poetry." While Luzzi establishes how certain qualities of film-its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art-have reshaped centuries-long debates, A Cinema of Poetry also explores what is specific to the Italian art film and, more broadly, Italian cinematic history. In other words, what makes this version of the art film recognizably "Italian"?

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For fans of Julia Quinn, Eloisa James and Sarah MacLean, comes Isabella Bradford's enthralling new trilogy of London's most scandalous rakes, the Breconridge Brothers, who are about to lose their hearts...Though charming and handsome, Lord Rivers Fitzroy, the youngest Breconridge brother, is more inclined to dusty books than brazen women. But when his father insists he marries, he vows to make the most of his last days as a bachelor.And what better way than in the company of a troupe of Italian dancers, where he's challenged to a wager he can't resist: turn the players' meek and mousy cousin into the first lady of the London stage.But he gets more than he bargained for with Lucia di Rossi. She has her own past to overcome and her own starlit aspirations. As the lines between performance and passion become blurred will finding the spotlight mean losing their hearts?Catch the rest of the dazzling series! Don't miss A Wicked Pursuit and A Sinful Decption. Before the Breconridge Brothers, came the Wylder sisters. Don't miss a moment of the romantic and captivating debut trilogy from Isabella Bradford: When You Wish Upon a Duke, When The Duchess Said Yes and When The Duke Found Love.

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"Five thousand years have now elapsed since the creation of the world, and still it is undecided whether or not there has even been an instance of the spirit of any person appearing after death. All argument is against it; but all belief is for it." --Samuel Johnson Ghosts are woven into the very fabric of life. In Britain, every town, village, and great house has a spectral resident, and their enduring popularity in literature, art, folklore, and film attests to their continuing power to fascinate, terrify, and inspire. Our conceptions of ghosts--the fears they provoke, the forms they take--are connected to the conventions and beliefs of each particular era, from the marauding undead of the Middle Ages to the psychologically charged presences of our own age. The ghost is no less than the mirror of the times. Organized chronologically, this new cultural history features a dazzling range of artists and writers, including William Hogarth, William Blake, Henry Fuseli, Dante Gabriel Rossetti, John Everett Millais, Susan Hiller and Jeremy Deller; John Donne, William Shakespeare, Samuel Pepys, Daniel Defoe, Percy and Mary Shelley, Emily Bronte, Charles Dickens, Wilkie Collins, Henry James, Thomas Hardy, Muriel Spark, Hilary Mantel, and Sarah Waters.

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Packed with riches yet highly accessible, The Heart's Time is at its core a series of short, resonant poems for each weekday of Lent and Easter. It will appeal to existing poetry lovers as well as those who want to start exploring how poems can be a resource for our spiritual lives, whether or not they are written with a consciously Christian intent. Poets often address subjects our culture seeks to avoid, and poetry demands that we 'slow down to the heart's time' in order to discover deeper levels of meaning than at first appear. Janet Morley offers her own skilful and reflective commentaries on a fascinating themed sequence of both familiar and unexpected poems, including works by Margaret Atwood, St Augustine, Charles Causley, E. E. Cummings, Emily Dickinson, Carol Ann Duffy, Ruth Fainlight, U. A. Fanthorpe, Robert Frost, Seamus Heaney, George Herbert, Elizabeth Jennings, Denise Levertov, Roger McGough, Adrienne Rich, Christina Rossetti, R. S. Thomas and Rowan Williams.

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Beginning with the simple question, 'Why did audiences grow silent?' "Listening in Paris" gives a spectator's-eye view of opera and concert life from the Old Regime to the Romantic era, describing the transformation in musical experience from social event to profound aesthetic encounter. James H. Johnson recreates the experience of audiences during these rich decades with brio and wit. Woven into the narrative is an analysis of the political, musical, and aesthetic factors that produced more engaged listening. Johnson shows the gradual pacification of audiences from loud and unruly listeners to the attentive public we know today. Drawing from a wide range of sources - novels, memoirs, police files, personal correspondence, newspaper reviews, architectural plans, and the like - Johnson brings the performances to life: the hubbub of eighteenth-century opera, the exuberance of Revolutionary audiences, Napoleon's musical authoritarianism, the bourgeoisie's polite consideration. He singles out the music of Gluck, Haydn, Rossini, and Beethoven as especially important in forging new ways of hearing. This book's theoretical edge will appeal to cultural and intellectual historians in many fields and periods.

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Examines Liszt's piano arrangements of music originally created for other instruments, especially the symphony orchestra and the Hungarian Gypsy band. Liszt's adaptation of existing music is staggering in its quantity, scope, and variety of technique. He often viewed the model work as a source that he strove to improve, rival, and even surpass. Liszt's Representation of Instrumental Sounds on the Piano: Colors in Black and White provides a comprehensive survey of Liszt's reworking of instrumental music on the piano, particularly his emulation of tone colors and idiomatic gestures. The book relatesLiszt's sonic reproductions to the widespread nineteenth-century interest in visual-art reproduction. Hyun Joo Kim illustrates Liszt's diverse approaches to the integrity of the music in a detailed, vivid, and insightful manner through close study of his arrangements of Beethoven's symphonies and Rossini's Guillaume Tell Overture, his two-piano arrangements of his own symphonic poems such as Mazeppa and Hunnenschlacht, and his Hungarian Rhapsodies. By examining orchestral music and Hungarian Gypsy-style music as sources of Liszt's sound representations, this book reveals Liszt's musical discourse as straddling the musical, cultural, and aesthetic divides between mainstream and peripheral, art and folk, serious and popular. HYUN JOO KIM holds a PhD from Indiana University and is an independent scholar in Seoul, South Korea.

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Eleanor of Aquitaine was the wife of two kings, Louis VII of France and Henry II Plantagenet of England, and the mother of two others, Richard the Lionhearted and John Lackland. In her eventful, often stormy life, she not only influenced the course of events in the twelfth century but also encouraged remarkable advances in the literary and fine arts. In this book, experts in five disciplines—history, art history, music, French and English literature—evaluate the influence of Eleanor and her court on history and the arts. Elizabeth A. R. Brown views Eleanor as having played a significant role as parent and politician, but not as patron. Rebecca A. Baltzer takes a new look at the music of the period that was written by and for Eleanor, her court, and her family. Moshé Lazar reexamines her relationship to the courtly-love literature of the period. Eleanor S. Greenhill and Larry M. Ayres reassess her influence in the realm of art history. Rossell Hope Robbins traces the lines extending from the French courtly literature of Eleanor's period down into fourteenth-century Chaucerian England. The essays reflect divergent but generally complementary assessments of this remarkable woman's influence on her own era and on future times as well. This volume is the result of a symposium held at the University of Texas in 1973.

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A collection of 40 delicious cocktail recipes featuring the hugely popular Italian sparkling wine that has taken social drinking by a storm – Prosecco! Ah, Prosecco, how we love it! With its crisp, zesty bubbles and light, fruity flavour, Champagne’s perkier younger cousin is our favourite sparkling wine, hands-down. But what many of us don’t realize is that those easy-drinking qualities we love so much are exactly what makes it a fantastic base for cocktails, too. Prosecco’s sprightly bubbles combine brilliantly with all kinds of liqueurs and spirits, so it’s time to open the drinks cabinet and start experimenting – and Prosecco Cocktails is the perfect companion to get you started. There are Prosecco-led twists on the classics, like the Kir Royale or Prosecco Mojito; sophisticated apéritifs like the classic Spritz or the strawberry-infused Rossini; absolute party barnstormers like the Sangria Blanca, infused with white peach and basil; and intriguing sweet treats like the Wild Berry Cheesecake or Sparkling Parma Violet. Everyone enjoys the magical sound of well-chilled fizz cascading into a sparkling clean glass, adding its special cheer to any occasion. Now let’s take it to a whole new level! Whether you’re hosting an action-packed hen party or a dainty baby shower, a sunny beachside barbecue or a festive Christmas drinks gathering, an intimate meal à deux or a gossip-fuelled get-together, a fun family celebration or a soignée dinner party, the true joy of Prosecco is that it’s ideal for any occasion.

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The #1 Sunday Times bestselling Seven Faceless Saints duology concludes. Romance, revolution and mystery intertwine as a young rebel and palace guard hunt a murderer in this gripping YA set in a world inspired by Florence, Italy. Perfect for fans of Leigh Bardugo and Kerri Maniscalco. Damian Venturi isn't aware of it yet. But as small shifts start to crack the foundations of the Ombrazian power structure after the Rebellion's attack, cracks are beginning to show in Damian's own facade. Uncontrollable anger is bubbling to the surface and can't always be pushed down. Can he keep everyone safe, even from himself? Rossana Lacertosa should feel victorious. She accomplished everything she set out to do, and more. The Rebellion's attack set countless prisoners free and brought attention to the unfairness in the Palazzo's structure. And Damian is back by her side where he belongs. Yet the war with Brechaat rages on and government officials are hellbent on keeping the status quo. Then an Ombrazian general arrives from the front lines, and orders dozens of arrests, shipping Roz and Damian's friends up north. Determined to free those who matter most, Roz and Damian set their sights on Brechaat. But on their journey to hell on earth, Roz will need to face the fact that Damian is not just shifting further from the boy she used to know, but down a dark path into chaos. The complications of love, magic, faith, and war will keep readers eagerly turning the pages as they head towards the gripping conclusion in the Seven Faceless Saints duology.

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For far too long the male protagonists of the Pre-Raphaelite movement have dominated accounts of this revolution in British art. This book aims to redress the balance in showing just how engaged and central women were to the endeavour as the subjects of the images themselves, certainly, but also in their production. When the Pre-Raphaelite Brotherhood (the PRB') exhibited their first works in 1849 it heralded a revolution in British art. Styling themselves the Young Painters of England' this group of young men aimed to overturn stale Victorian artistic conventions and challenge the previous generation with their startling colours and compositions. Think of the images created by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti and others in their circle, however, and it is not men but pale-faced young women with lustrous, tumbling locks that spring to mind, gazing soulfully from the picture frame or in dramatic scenes painted in glowing colours. Who were these women?

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Alfred Gilbert's Aestheticism presents the first sustained re-evaluation of the life and work of one of the most acclaimed sculptors of the late-Victorian period. Drawing on important new archival sources, this ground-breaking study challenges the customary assumption that Aestheticism was primarily a literary, painterly or architectural phenomena. Jason Edwards reveals both the diverse ways in which Gilbert's sculptures operated within the context of Aestheticism and also how these works provided a unique and provocative commentary on the history of masculine friendship and eroticism in the period leading up to and beyond the Wilde trials in 1895. Detailed readings are offered of the relationship of Gilbert's work to essays by Pater and Swinburne, poems, plays, and novels by Wilde and W. S. Gilbert, and paintings by Burne-Jones, Leighton, Rossetti, Solomon, Whistler, and Watts. With over 90 illustrations, including key contemporary photographs showing Gilbert's works in their original contexts, this book makes a major contribution to the field of Victorian sculpture studies.

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How were the genres of literature changed by new methods of serialization and publishing? How did a widespread culture of performance emerge in the period to shape as well as to be shaped by the novel and poetry? David Amigoni draws on the most recent critical approaches to the novel, Victorian melodrama and poetry to answer these and other questions. The work of Charles Dickens, George Eliot, Oscar Wilde, Alfred Tennyson, Robert Browning, Christina Rossetti, Thomas Hardy, Thomas Carlyle and Mathew Arnold are explored in relation to ideas about fiction, journalism, drama, poetry, the New Woman, gothic, horror and the Victorian sage. Key Features *Detailed readings of key texts provide models of how to read critically *Demonstrates the interaction between genres to help think through modes of artistic experimentation and innovation in the period *Examines Neo-Victorian fiction, a popular genre today *Student resources include electronic and reference sources, further reading and an extensive glossary of key critical terms and historical issues

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A fully illustrated biography of Max Verstappen, from karting in the junior races at age 10 to his third time winning the world championship at the end of 2023. Max’s journey to Formula 1 stardom was not a typical one. His parents are both motorsport talents. He was born in Belgium to mum Sophie Kumpen, a champion karter, while dad Jos Verstappen was Benetton team-mate to Michael Schumacher and survived perhaps the scariest F1 pitlane incident when his car caught fire during a refuelling stop. As well as being good team-mates, his dad and Michael Schumacher became great friends over the years. Max grew up going on family holidays with Schumacher and his son, fellow F1 star Mick. Max broke all the records for youngest driver after he made his official debut in 2015, including youngest ever driver to win an F1 race after he transferred from Red Bull’s junior team Toro Rosso to Red Bull in 2016. Howeve

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The Match is the tale of one of the most iconic games in World Cup history: Italy v Brazil at Spain '82. Piero Trellini delves into the stories of the great characters who lit up that unforgettable match - from Paolo Rossi to Sócrates, from Enzo Bearzot to Zico - as well as some forgotten figures who all played their part. The book takes us on a fascinating journey through the 1982 Mundial, exploring the football scene of the day and dishing out fascinating anecdotes on the various historical and sporting links between the two countries. Italy, a nation historically at the forefront of football, did not arrive in Spain as favourites, with widespread doubts about their chances, even in the Italian press. This is one of the reasons why their triumph that summer is still celebrated in Italy above other historic victories by the Azzurri. Following that momentous win, Italy would become the favourite destination for Europe and South America's greatest players.

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This book provides an introduction into the diversity of the environmental movement through great characters in the green sector. The book describes inspiring personal achievements, and at the same time it provides readers with information regarding the history, the main directions and the ethical principles of the environmental movement. Some of the most important characters of the movement from all around the world, are included in the book. As well as the title characters, Buddha and Leonardo DiCaprio, other famous environmentalists like Albert Schweitzer, David Attenborough and Jane Goodall are discussed. Some of the less well-known but equally important environmentalists such as Chico Mendes, Bruno Manser, Henry Spira, Tom Regan or Rossano Ercolini are highlighted in the various chapters. The selection of characters represents all major branches within the green sector, ranging from medieval saints to Hollywood celebrities, from university professors to field activists, from politicians to philosophers, from ecofeminists to radicals.

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Ara bé, més enllà de l'acció concreta que desenvolupen, totes dues ens proposen temàtiques i reflexions universals. Quant a l'escriptura, som davant obres que responen a models molt diferents, tot i que tenen en comú un treball amb el subministrament de la informació que les fa esdevenir molt atractives, de la mà d'un joc constant d'enganys i de sorpreses.Rodolf Sirera és un dels grans autors vius en llengua catalana, amb una producció ja molt extensa iniciada a finals dels anys seixanta del segle passat. Aquestes dues obres editades s'inscriuen en un moment en què Sirera assaja amb diferents gèneres i formes teatrals, de manera que són una bona mostra d'una de les seues constants com a creador: la voluntat d'experimentar amb el llenguatge teatral i amb els seus límits.A l'edició en paper: Estudi preliminar, propostes de treball i comentaris de text a cura de Ramon X. Rosselló, professor de la Universitat de València, especialista en teatre contemporani en llengua catalana.

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