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One of the most widely circulated items of wisdom literature during the Middle Ages, the Vita Secundi is a Greek text of the second century AD. The substantial introduction to the edition deals with the motives for the work’s translation into Spanish, tracks the extent of its diffusion in Spain, and analyses in detail the textual history of the Spanish version.

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Rural regions and their local architecture receive far too little attention. This book aims to change that. The variety of realized projects shows the hidden potential of these areas and how architecture can contribute to a good life in the countryside. The projects presented here include homes, workshops, agricultural buildings, village stores, wineries, hotels, museums, chapels, sports facilities or public buildings. The geographical focus is on Germany, Austria and Switzerland, with individual projects from Europe also included. By highlighting selected regions and places, the book illustrates the overall changes in different area – whether through shrinkage or growth. This attractive volume is enhanced by essays on the realization process of projects, on important building types, on infrastructure, and on what can be learned from building in the countryside. The catalog portrays 65 projects by numerous renowned architecture offices, including Bernardo Bader Architekten, Gion A. Caminada, Peter Haimerl, Jan Rösler Architekten and Andy Senn Architekt.

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First critical edition of Spanish pastoral romance of the Golden Age. This volume is the first critical edition of Montemayor's Los siete libros de la Diana, the first Spanish pastoral romance, using eight of the earliest editions extant. The base text used is Zaragoza 1560, without the errors noted in the collatio, and therefore the closest to the archetype; variants, notes and corrections based on the stemma are presented in footnotes. An introductory chapter discusses the problem of the date of the first composition and publication of the work. Reproductions of the title-pages of the editions used, preliminary poems, additions to the text (except that of Abindarráez) and water-marks form an appendix. JULIAN ARRIBAS is Professor of Spanish at Presbyterian College, Clinton, South Carolina.

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This is a handy and comprehensive Japanese dictionary intended for use in a business setting.Tuttle Japanese Business Dictionary contains over 4,000 key terms that provide the essential vocabulary for clear and productive discussions between Japanese and English speaking businesspeople. These terms are usually used to clarify negotiating positions and to settle contract terms and conditions. Each term is listed alphabetically, with the Romanized pronunciation (including the author's unique phonetic system) to facilitate correct pronunciation. The Japanese script is given, followed by its English explanation. Where appropriate, example sentences are also included to demonstrate the proper usage of the terms. Useful information in the front of the book includes a section on how to use the dictionary, special language pointers, Japanese business etiquette and common Japanese expressions. Over 4,000 contemporary business terms. A guide to business phrases and etiquette. Compact and user-friendly layout. Handy reference guide for businesspeople who frequently deal with Japanese speakers.

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To live is to face problems and to find solutions for them. We do so consciously or unconsciously, using intuition, reason, imagination and many other faculties. We notice a situation, we draw conclusions from what we see, hear and feel, and we act on our conclusions in a constant process of observation, analysis and remedy. 'My shoulders are tight, because I am under a lot of stress, I need a good massage.' We observe a problem (tight shoulders), analyse the cause (stress) and seek a remedy for it (the massage). But what if we have misunderstood the problem? What if our description of the problem is based on false perceptions, or our analysis on false assumptions? What if the solution aggravates the problem? This book is about our suppositions, habits and behaviours. It is about posture and attitude, tension and relaxation, movement and rest. It is about interpersonal relationships, sports and performing arts. Above all, it is about embodied emotions and the body that thinks and feels. In this fully revised new edition, Pedro de Alcantara invites you to redefine the meaning of health and wellbeing, using the insights and tools developed by a man of genius: F.M Alexander.

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Text in French and English. Mouans-Sartoux, a small community near Cannes, has become a Mecca for concrete art. Since 1990 two collectors from Switzerland, Sybil Albers and the artist Gottfried Honegger, have been working to establish the Espace de l'Art Concret (EAC). Neither a museum nor a municipal gallery, this institution is located in the Château de Mouans and in two new buildings in its large park. The first of the two new buildings was a studio designed by Marc Barani from Nice for children who come here to paint and to develop their aesthetic senses. Barani began work in 1990 with the extension to the cemetery of Saint Pancrace in Roquebrune-Cap-Martin. The way he located the cemetery in the local landscape and his use of original vegetable and mineral materials immediately brought him to international notice. In 2000 Albers and Honegger decided to donate their collections to the French state, on the understanding that it would finance a building to house the nearly 500 works of art. A competition was launched and was won by the Zurich architects Annette Gigon and Mike Guyer. The building, which opened its doors in 2004, stands on a steeply sloping wooded terrain. As one enters the park, one sees its yellowish-green hues through the branches of the trees. The monochrome colour unifies the five levels of the building that give no clue as to what it contains. While the outside of the building looks artificial, independent, sculptural, its interior is set up in accordance with Honegger's special instructions. He wanted the building that was to house his collection to be distinct from the official and sterile museums that are often laid out on the gallery model, passageways for contemplation, internal streets with overhead lighting. Honegger prefers an interior that is like a private home rather than a public institution. The domestic framework of the rooms must reflect a principle dear to the heart of the donors: that the works are to be lived with. Honegger takes an overall view of our material environment and emphasises that for him the distinction between fine arts and applied arts has no meaning, because "an unapplied art would have no purpose and would be bound to be insignificant and disappear".

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