These small pieces aim not to be musical masterpieces, but as “half-written†they have two main purposes: to develop reading skills and at the same time to teach the use of musical signs other than the notes. All pieces are “to complete†at the discretion of the pupil. The terminology is not specifically explained, because you learn better through research and direct experience and under the guidance of an expert rather than reading something in passing.
Learn Italian in 4 Simple Steps. With Living Language Complete Italian: The Basics, you’ll start by learning words, and then you’ll progress to phrases, sentences, and conversations. This simple four-step building block approach will have you speaking with confidence right from the beginning, and you’ll be able to learn gradually and effectively. If you’re confident in your pronunciation, then this coursebook includes everything you need - vocabulary, grammar, culture, and practice. But you can also use this book along with the four hours of recordings included in the Living Language Complete Italian: The Basics compact disc package, which also includes a handy learner’s dictionary. This comprehensive coursebook includes: •40 step-by-step lessons •Practical vocabulary and authentic everyday usage •Simple explanations and plenty of examples •Supplemental sections, including e-mail and internet resources •A comprehensive grammar reference section
Between 1512 and 1570, Florence underwent dramatic political transformations. As citizens jockeyed for prominence, portraits became an essential means not only of recording a likeness but also of conveying a sitter’s character, social position, and cultural ambitions. This fascinating book explores the ways that painters (including Jacopo Pontormo, Agnolo Bronzino, and Francesco Salviati), sculptors (such as Benvenuto Cellini), and artists in other media endowed their works with an erudite and self-consciously stylish character that made Florentine portraiture distinctive. The Medici family had ruled Florence without interruption between 1434 and 1494. Following their return to power in 1512, Cosimo I de’ Medici, who became the second Duke of Florence in 1537, demonstrated a particularly shrewd ability to wield culture as a political tool in order to transform Florence into a dynastic duchy and give Florentine art the central position it has held ever since. Featuring more than ninety remarkable paintings, sculptures, works on paper, and medals, this volume is written by a team of leading international authors and presents a sweeping, penetrating exploration of a crucial and vibrant period in Italian art.
What was the role of images in the Western tradition? And how did they relate to the printed work? The essays in this wide-ranging collection address these questions by presenting a variety of material, including visual representations that can be read as texts and traditional book illustrations. The editors offer a critical review of visual arts and texts, encompassing thirteenth-century Spanish miniatures, Italian Renaissance painting and book illustrations, the explosion of inter-arts comparisons in the nineteenth century in the works of such diverse writers as Blake, Mallarme and D'Annunzio, and the modern debate on the visual arts.
This book offers an analysis of the socio-historical conditions of the rise of postwar Italian photography, considers its practices, and outlines its destiny. Antonella Russo provides an incisive examination of Neorealist photography, delineates its periodization, traces its instances and its progressive popularization and subsequent co-optation that occurred with the advent of the industrialization of photographic magazines. This volume examines the ethno(photo)graphic missions of Ernesto De Martino in the deep South of Italy, the key role played by the Neorealist writer and painter Carlo Levi as "ambassador of international photography", and the journeys of David Seymour, Henry Cartier Bresson, and Paul Strand in Neorealist Italy. The text includes an account the formation and proliferation of Italian photographic associations and their role in institutionalizing and promoting Italian photography, their link to British and other European photographic societies, and the subsequent decline of Neorealism. It also considers the inception of non-objective photography that thrived soon after the war, in concurrence with the circulation of Neorealism, thus debunking the myth identifying all Italian postwar photography with the Neorealist image. This book will be particularly useful for scholars and students in the history and theory of photography, and Italian history.
In this beautifully illustrated book Maria Antonella Pelizzari traces the history of photography in Italy from its beginnings to the present as she guides us through the history of Italy and its ancient sites and Renaissance landmarks. Pelizzari specifically considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to Unification in 1860, and later in the nationalist wars of Mussolini’s regime. While many Italians and foreigners— such as Fratelli Alinari or Carlo Ponti, John Ruskin or Kit Talbot—focused their lenses on architectural masterpieces, others documented the changing times and political heroes, creating icons of figures such as Garibaldi and the brigands. Pelizzari’s exploration of Italian visual traditions also includes the photographic collages of Bruno Munari, the neorealist work of photographers such as Franco Pinna, the bold stylized compositions of Mario Giacomelli, and the controversial images created by Oliviero Toscani for Benetton advertising in the 1980s. Featuring unpublished works and a rare selection of over one hundred images, this book will appeal to art collectors and students of art history and Italian culture.
This latest volume in the popular Guide to Imagery series discusses the materials and processes used in eight media: painting, drawing, printmaking, sculpture, mosaics, ceramics, glass, and metalwork. The book provides art enthusiasts with new insights into the creation of many of the world's great masterpieces.
This book offers the first comprehensive and authoritative text on the history of physics in Italy’s industrial and financial capital, from the foundation of the University of Milan’s Institute of Physics in 1924 up to the early 1960s, when it moved to its current location. It includes biographies and a historical-scientific analysis of the main research topics investigated by world-renowned physicists such as Aldo Pontremoli, Giovanni Polvani, Giovanni Gentile Jr., Beppo Occhialini, and Piero Caldirola, highlighting their contributions to the development of Italian physics in a national and international context. Further, the book provides a historical perspective on the interplay of physics and politics in Italy during both the Fascist regime and the postwar reconstruction period, which led to the creation of the CISE (Centro Informazioni Studi Esperienze, a research center for applied nuclear physics, funded by private industries) in 1946, and of the Milan division of the National Institute of Nuclear Physics (INFN) in 1951.
This book presents some outcomes, of a broader research still on going, about the vision and the opera of a Master of the Roman School of Architectural Drawing, Mario Marchi (1900-1996). It offers an overview of his extensive work by combining, in the form of an Atlas, authorial Drawings and original Photographs of some famous masterpieces.
Corporate Heritage Marketing introduces the reader to the design and implementation of a heritage marketing strategy. It aims to propose a new and integrated reading of this marketing strategy, both from a theoretical and a managerial perspective. This book sets out to answer key questions, such as: how is it possible to engage all the company's stakeholders by exploiting corporate heritage? It also aims to discuss the basic principles for achieving a successful marriage between marketing and heritage. By highlighting the results of a research focused on 20 Italian companies, the book proposes a model for the development and implementation of a heritage marketing strategy. The nature of this book, being both theoretical and empirical, can contribute to increasing the curiosity and interest towards heritage marketing of both academics and practitioners.
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