29 072 résultats
cm. 17 x 24, 2 tomi di lxviii-836 pp. con 5 tavv. f.t. Fondazione Luigi Einaudi. Torino - Studi In questi articoli Luigi Einaudi da notizia degli eventi italiani in campo economico, finanziario e politico, dal governo Giolitti al regime fascista, e analizza criticamente, con ottica liberale, le azioni dei protagonisti della scena economica e politica italiana. In these articles Luigi Einaudi chronicled the economic, financial and political events of Italy, from the government of Giolitti to the Fascist regime and critically analysed the action of the protagonists in the Italian economic and political arena from a liberal standpoint. Inglese 1655 gr. lxviii-836 p.
cm. 18 x 25,5, viii-306 pp. con 11 ill. f.t. Italian Medieval and Renaissance Studies 700 gr. viii-306 p.
cm. 17 x 24, lxxii-256 pp. con 4 tavv. f.t. Accademia toscana di scienze e lettere ?La Colombaria? - Serie Studi 649 gr. lxxii-256 p.
cm. 17,5 x 25, 164 pp. Centro di studi di letteratura italiana in Piemonte ?Guido Gozzano - Cesare Pavese? - Saggi e testi 326 gr. 164 p.
cm. 17 x 24, xxii-194 pp. Biblioteca dell'?Archivum Romanicum? - Serie I: Storia, Letteratura, Paleografia ?Il ricco edificio? ? il palazzo-giardino dove Armida seduce Rinaldo, immemore della santa crociata. L?affresco tassiano, che occupa i canti XIV-XVI della ?Liberata?, coniuga pratica epica e riflessione teorico-polemica sulla crisi degli statuti poetici rinascimentali. I calchi allusivi di tradizione classica rivelano una poesia dotta per un pubblico attento a modelli riconoscibili: le trame della ?Liberata? rinviano a Lucrezio, Catullo, alla tradizione elegiaca, a Virgilio, e soprattutto all??Iliade?, archetipo ancora fondante alle origini della modernit? ?The sumptuous edifice? is the palace garden where the witch Armida seduces Rinaldo and makes him forget the holy crusade. Tasso?s ?fresco?, which occupies cantos 14-16 of the ?Gerusalemme Liberata?, is truly epic, yet at the same time invites one to reflect upon the crisis of Renaissance poetical theory. Allusions to classical tradition reveal a type of learned poetry meant for a public aware of such recognizable models having their roots in Lucretius, Catullus, the elegiac tradition, Virgil and mainly the world of the Iliad. 408 gr. xxii-194 p.
cm. 16,5 x 23,5, 216 pp. Biblioteca storica toscana - Serie II 410 gr. 216 p.
cm. 15 x 21, 272 pp. Biblioteca della ?Rivista di storia e letteratura religiosa? - Testi e Documenti Il Manzoni degli Inni Sacri con Natale del 1883 e Ognissanti, alla lucedella sua conversione di scrittore cattolico pi? dalla parte di Sant'Agostinoche di Chateaubriand. 402 gr. 272 p.
cm. 18 x 25,5, 236 pp. Biblioteca dell'?Archivum Romanicum? - Serie I: Storia, Letteratura, Paleografia Con questa inconsueta prospettiva critica si mostra la profonda unit? della produzione tassiana nella concezione della poesia come forma di impegno etico, metafora dell?umana peregrinatio alla ricerca di un segno di salvezza e testimonianza della tragica negativit? dell?azione dell?uomo nel mondo. This unusual critical perspective demonstrates the intensity of Tasso?s works in the concept of poetry as an ethical commitment, metaphor of human peregrinatio in the search for a sign of salvation and evidence of the tragic negativity of man?s action throughout the world. 495 gr. 236 p.
cm. 15,5 x 21,5, 212 pp. Letterature d'Oltralpe e d'Oltre Oceano - Saggi e studi 365 gr. 212 p.
cm. 17 x 24, 264 pp. Accademia toscana di scienze e lettere ?La Colombaria? - Serie Studi Adottando a punto d'osservazione privilegiato la cornice, il libro si propone di illustrare i caratteri prettamente quattrocenteschi e municipali che costituiscono i titoli di autonomia e originalit? del novelliere Giovanni Sabadino degli Arienti rispetto al modello decameroniano. 535 gr. 264 p.
cm. 17 x 24, 112 pp. con 12 ill. f.t. Accademia toscana di scienze e lettere ?La Colombaria? - Serie Studi Per fuggire da Firenze invasa dalla tremenda alluvione del 1740 ? descritta con dovizia di particolari e con interessanti e curiosi episodi ? Peruzzi si rifugi? con un gruppo di dame e nobiluomini fiorentini nella sua villa dell?Antella. Ricordando come la peste del 1348 aveva dato motivo a Boccaccio di scrivere le sue mirabili cento novelle, pens? di creare un suo ?Decamerone?, facendo raccontare ai suoi amici fatti e novelle su un argomento stabilito giorno per giorno. To escape from Florence invaded by the tremendous flood of 1740 - described in a wealth of detail with interesting and curious events - Peruzzi withdrew to his country house at Antella with a group of Florentine aristocrats. Recalling how the plague of 1348 gave Boccaccio cause to write his admirable hundred tales, he decided to create his own ?Decameron? by making his friends relate facts and stories on topics decided upon day by day. 286 gr. 112 p.
cm. 17 x 24, 230 pp. Polinnia Bufalino ? stato un interprete finissimo della cultura francese, interessandosi a scrittori distanti e diversi per le modalit? di scrittura. In questo volume si studiano le traduzioni bufaliniane dal francese nella loro valenza autonoma e nel rapporto con l?attivit? narrativa. Metodologicamente, sono stati applicati gli strumenti della prassi traduttiva elaborata negli ultimi decenni. L?analisi ha messo in luce scelte stilistiche che svelano aspetti rilevanti del laboratorio di scrittura di Bufalino. Bufalino, a refined and subtle interpreter of French culture, took an interest in French authors of different periods and styles. This volume contains essays on a number of his translations from the French (Giraudoux, Renan, Baudelaire, etc.), based on methodologies and practices developed during the recent decades. These analyses reveal important new aspects of Bufalino?s work. 421 gr. 230 p.
cm. 17 x 24, 98 pp. con 20 tavv. f.t. a colori e 4 b.n. Biblioteca di ?Lettere italiane? - Studi e testi I lettori medievali erano soliti glossare il testo con diversi tipi di note figurate: segni di attenzione di varia morfologia e veri e propri disegni marginali. Questo libro ? dedicato ai manoscritti posseduti ed annotati da Francesco Petrarca e prende in esame, oltre ai marginalia figurati di mano dello stesso poeta, anche quelli di incerta attribuzione e quelli vergati nei volumi della sua biblioteca da Giovanni Boccaccio o da altri annotatori trecenteschi. The marginalia added by medieval and Renaissance readers to their texts frequently included figurative elements such as Notabene signs, pointing hands and actual small drawings. This volume analyses the manuscripts owned by Petrarch and the system of signs used by him in his annotations, including the small figures he often used to frame his notes. Also studied are similar marginalia in manuscripts from the library of Boccaccio and of other 14th-century intellectuals in Petrarch?s circle. 293 gr. 98 p.
cm. 17 x 24, viii-396 pp. con 11 tavv. f.t. Gabinetto Scientifico Letterario G.P. Vieusseux 820 gr. viii-396 p.
cm. 17 x 24,5, 2 tomi di xiv-1010 pp. Accademia toscana di scienze e lettere ?La Colombaria? - Serie Studi 1194 gr. xiv-1010 p.
cm. 17 x 24, 246 pp. Biblioteca di ?Lettere italiane? - Studi e testi Questo libro, ponendo l?accento sull?estrema ricchezza del ?negativo? nelle opere di L.B. Alberti, insiste sulla figura della melanconia come un ideale blasone, che riassume la complessit? di questi lati oscuri. L?orizzonte della ricerca si amplia poi progressivamente: studiare gli aspetti meno pacificati dei testi albertiani, infatti, significa affrontare il problema delle fonti, interpretare lo specialissimo impiego albertiano dei materiali letterari. In quest?ambito i sondaggi hanno finito per dare la preferenza alle fonti cristiane, rivelandone l?insospettata ricchezza nella letteratura di Alberti. Accentuating the wealth of ?negative? in the works of L.B. Alberti, this book insists on the figure of melancholy as a blazon ideal that summarizes the complexity of these abstruse aspects. The horizon of research broadens progressively: in fact studying the less peaceful aspects of Alberti?s texts means facing the problem of sources, interpreting Alberti?s specific use of literary material. The outcome of the enquiry shows a definite preference towards Christian sources, revealing the unexpected richness in Alberti?s literature. 455 gr. 246 p.
cm. 17 x 24, 184 pp. Polinnia La formula ungarettiana del ?sentimento del tempo? abbraccia studi che riguardano, con Ungaretti, poeti che vanno, attraverso Montale ed altri, da Pirandello e Rebora a Giudici. In apertura del volume Giuseppe Savoca, sulla base di un rigoroso esame filologico, mette a fuoco i limiti del cosiddetto ?testo critico? del ?Canzoniere? curato da Contini (identificato come ?copia?, errori compresi, della edizione diplomatica di Modigliani), e prospetta l?urgenza di una vera edizione critica dell?originale. The volume comprises the acts of a congress of scholars held at the University of Catania on the occasion of the 700th anniversary of Petrarch?s birth. Much of it is devoted to tracing the influence of Petrarch on modern poetry, ranging from Pirandello and Rebora to Giudici, but chiefly Ungaretti and Montale. Giuseppe Savoca?s introductory essay reexamines twentieth-century textual criticism. 346 gr. 184 p.
cm. 14,5 x 20, 180 pp. Saggi di ?Lettere italiane? Il volume non propone un'interpretazione globale della lode francescana, bens? l'approfondimento, in prospettiva diacronica e sincronica, di una singola occorrenza testuale. Ridisegnate, nel segno dell'umilt? e del servizio, le fila della visione creaturale di Francesco, e illustrata la posizione esemplare della terra in essa, la ricerca conclude verificando come la 'follia' del governo terrestre si iscriva nella follia sublime del paradosso cristiano: 'humilitas sublimis', il Figlio di Dio, nato da donna, ha umiliato la sua natura divina nella materia della nostra umanit?, fatta di terra, per mostrarci nella remissione e nel servizio la via verso il Padre, l'Altissimo. Rather than a comprehensive interpretation of Franciscan praise this volume, in a diacronic and synchronic perspective, proposes a deeper knowledge of a single precise circumstance. The succession of Francesco's visions re-designed as a token of humility and service illustrates the exemplary position of the earth, the research is concluded verifying how the ?foolishness? of terrestrial government enters into the sublime foolishness of Christian paradox: ?humilitas sublimis?, the Son of God, born of woman, humiliates His divine nature in the form of our humanity, made of earth, to show us, by means of remission and service, the way to His Father. 248 gr. 180 p.
cm. 18 x 25,5, 2 tomi di xii-906 pp. con 3 tavv. f.t. Centro nazionale di studi leopardiani - Atti di Convegni ? il decimo convegno dedicato a Leopardi: una silloge dei pi? importanti autori, a livello internazionale, che illumina la figura e l?opera del grande poeta. In questo volume sono raccolti i pi? recenti studi su lo Zibaldone insieme ad altre opere minori a esso collegate. This is the tenth conference dedicated to Leopardi; with some of the most important authors of international fame showing light on the figure and works of this great poet. The volume is a collection of the most recent studies on Zibaldone and other works connected with it. 2460 gr. xii-906 p.
Very Good German Original 213 postcards (100 b/w and 113 colors). 213 different postcards on Alps including the Alps of Switzerland, German, Austria and France. Mostly they are in German language and written on verso, some of them are blank. Usually postcards addressed and posted to Turkey in their period. A fine collection which contains very pictorial views and several rare postcards.
Roy., 8vo., First Edition, with numerous reproductions throughout; original pictorial wrappers, a near fine copy.
Very Good Turkish, Ottoman (1500-1928) A fine half leather bdg. with marbled boards. Two volumes in one. Cr. 8vo. (20 x 14 cm). The text in Ottoman script (Old Turkish with Arabic letters) with bilingual titles in Ottoman Turkish and French on frontispieces and title pages. 2 volumes set: (248 p.; 270, [1] p., the first volume has Columbus' engraved portrait frontispiece, the second has Amerigo Vespucci's portrait). Hegira: 1310 = Gregorian: 1893. First and only edition of this very rare book, which is the first Turkish original work on the history of the discovery of America printed for the Quadricentennial of the Discovery. With this book, Christopher Columbus and Amerigo Vespucci quickly became popular among Ottoman readers (soon after Iranian readers with a translation of the first volume only), and immediately among other Middle Eastern readers, and thus the first comprehensive and original text describing Colombus and the discovery of America appeared in the Middle East and Islamic world. It's been published in Istanbul under the title "The history of the discovery and conquest of America". The first volume is on Christopher Columbus, and the second volume is on Amerigo Vespucci, their lives and travels. Andreas Kopassis Efendy (1856-1912) was one of the few Ottoman Greeks proficient in the Ottoman literary language. Cretan Kopassis is an intriguing figure who made a remarkable career serving the Ottoman state. At the time of the publication, he was a member of the State Council (Sura-yi Devlet). He displayed quite an extraordinary interest in scholarly research and he seems to have been one of the first to have studied Ottoman "tahrir defterleri" [i.e. Ottoman tax registers]. This could be called a translation in a sense. Kopassis makes no reference to preceding translations, nor does he refer to Robertson's history of America. His main source was a more recent equally "classic" work on Christopher Columbus, Washington Irving's "History of the life and voyages of Christopher Columbus" (first published in 1828). Another source referred to by Kopassis is J. H. Campe's "Entdeckung von Amerika" (first published in 1781). His educational background is evident particularly in the introductory chapter where ample references are made to Pliny, Ptolemy, and Plato's Timaios which contain allusions to Atlantis. In his takri (Introduction) to this work, Kemalpasazade Said Bey (1848-1921) praised the author for his elegant prose. Sultan Abdülhamid awarded the order of merit (liyâkât) in gold to the author. In the same year (1315=1895), an aide-de-camp at the Iranian Ministry of War, Muhibb-i 'Âli Khan, translated the first volume into Persian. At the turn of the century, Christopher Columbus had become a very popular figure for Ottoman readers of all ages...". (Source: STRAUS, JOHANN: Nineteenth-century Ottoman Americana.; "Frontiers of the Ottoman Imagination: Studies in Honour of Rhoads Murphey."). Only one copy in OCLC 777274675 (Leiden University Library). Not in American libraries.; Özege 19857.
Light shelfwear. Spine lightly browned. Pages unopened. ; Greek text with Extensive Italian Commentary. ; Testi Greci E Latini Con Commento Filologico I; 102 pages
Very Good Turkish, Ottoman (1500-1928) Paperback. Folio. (33 x24cm). In Ottoman script and French. [3], [1] p. Ottoman stamped in period. The Ottoman Empire used anthems since its foundation in the late 13th century, but did not use a specific imperial or national anthem until the 19th century. During the reign of Mahmud II, when the military and imperial band were re-organized along Western lines, Giuseppe Donizetti was invited to head the process. Donizetti Pasha, as he was known in the Ottoman Empire, composed the first Western-style imperial anthem, the Mahmudiye Marsi. Like in many other monarchies of its time, the anthem of the Ottoman Empire was an imperial anthem, not a national one. Hence it paid homage to a specific ruler and a new anthem was composed at each imperial succession. However, in 1844, with the Tanzimat reforms, the Mecidiye Marsi was recognized as the first official Ottoman national anthem. The first official Ottoman national flag (which was in essence identical to the present-day Turkish flag) was also adopted in 1844. Giuseppe Donizetti was an Italian musician. From 1828 he was Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808-39). His younger brother was the famous opera composer Gaetano Donizetti. He studied music first with his uncle, Carini Donizetti, and, later, he was a pupil of Simone Mayr. After enlisting in Napoleon's army (1808), he served there as band leader. He took part in the campaigns against Austria and in Spain, and followed Napoleon to Elba. He was present at the Battle of Waterloo. After the fall of Napoleon, he continued his career as a bandmaster in the Savoy army. Giuseppe Donizetti Pasha, as he was called in the Ottoman Empire, played a significant role in the introduction of European music to the Ottoman military. Apart from overseeing the training of the European-style military bands of Mahmud's modern army, he taught music at the palace to the members of the Ottoman royal family, the princes and the ladies of the harem, is believed to have composed the first national anthem of the Ottoman Empire, supported the annual Italian opera season in Pera, organised concerts and operatic performances at court, and played host to a number of eminent virtuosi who visited Istanbul at the time, such as Franz Liszt, Parish Alvars and Leopold de Meyer. Although the elder Donizetti was born in Bergamo, Italy, Constantinople became a second home for him, and he lived there until his death in 1856. He is buried in the vaults of the St. Esprit Cathedral, near the Beyoglu district of Istanbul, in Pera. Giovanni Avolio, (1849-1936) was an Italian conductor and composer. According to the sheet musical paper, this first anthem was composed in 1831 by Donizetti and arranged by Avolio into piano in 1918. J. D. Andria is one of the best known music publishers among the Ottoman Empire mionrities. According to he documents in hand, it can be estimated that he began musical score publication in the year of 1904. Andria dealt with music publication at the address of Beyoglu, Istiklal Street (Near Agha Mosque) at 68 no. Andria also published four pieces of Turkish marche parties for piano as far as we know; besides his big sized west music works, which were published in general by him. Donizetti's 'Marche' is one of them as well besides Halit Recep Arman's, Miilok's, and Orente's ones. It is known when publishing life of Andria ended. (Source: Musical publications from Ottoman Empire up today, 1876-1986.; BÜLENT ALANER).
Milano, Feltrinelli Editore, 1960, in-8, br. muta editoriale, pp. LIV, 9, [1]. Si tratta d'un estratto, recante l'Introduzione al volume e la Nota al testo.
