This Research Topic covers all of the major lectures and symposia addresses delivered by invited speakers at the 2013 International Congress in Immunology (ICI) at Milan, Italy, August 22-27, 2013.
From the master of "micro-history" a reconstruction of two contrasting early-modern thinkers Nevertheless comprises essays on Machiavelli and on Pascal. The ambivalent connection between the two parts is embodied by the comma (,) in the subtitle: Machiavelli, Pascal. Is this comma a conjunction or a disjunction? In fact, both. Ginzburg approaches Machiavelli's work from the perspective of casuistry, or case-based ethical reasoning. For as Machiavelli indicated through his repeated use of the adverb nondimanco ("nevertheless"), there is an exception to every rule. Such a perspective may seem to echo the traditional image of Machiavelli as a cynical, "machiavellian" thinker. But a close analysis of Machiavelli the reader, as well as of the ways in which some of Machiavelli's most perceptive readers read his work, throws a different light on Machiavelli the writer. The same hermeneutic strategy inspires the essays on the Provinciales, Pascal's ferocious attack against Jesuitical casuistry. Casuistry vs anti-casuistry; Machiavelli's secular attitude towards religion vs Pascal's deep religiosity. We are confronted, apparently, with two completely different worlds. But Pascal read Machiavelli, and reflected deeply upon his work. A belated, contemporary echo of this reading can unveil the complex relationship between Machiavelli and Pascal - their divergences as well as their unexpected convergences.
From the master of "micro-history" a reconstruction of two contrasting early-modern thinkers Nevertheless comprises essays on Machiavelli and on Pascal. The ambivalent connection between the two parts is embodied by the comma (,) in the subtitle: Machiavelli, Pascal. Is this comma a conjunction or a disjunction? In fact, both. Ginzburg approaches Machiavelli's work from the perspective of casuistry, or case-based ethical reasoning. For as Machiavelli indicated through his repeated use of the adverb nondimanco ("nevertheless"), there is an exception to every rule. Such a perspective may seem to echo the traditional image of Machiavelli as a cynical, "machiavellian" thinker. But a close analysis of Machiavelli the reader, as well as of the ways in which some of Machiavelli's most perceptive readers read his work, throws a different light on Machiavelli the writer. The same hermeneutic strategy inspires the essays on the Provinciales, Pascal's ferocious attack against Jesuitical casuistry. Casuistry vs anti-casuistry; Machiavelli's secular attitude towards religion vs Pascal's deep religiosity. We are confronted, apparently, with two completely different worlds. But Pascal read Machiavelli, and reflected deeply upon his work. A belated, contemporary echo of this reading can unveil the complex relationship between Machiavelli and Pascal - their divergences as well as their unexpected convergences.
Philip Carlo's The Ice Man spent over six weeks on the New York Times Bestseller List. Top Mob Hitman. Devoted Family Man. Doting Father. For thirty years, Richard "The Iceman" Kuklinski led a shocking double life, becoming the most notorious professional assassin in American history while happily hosting neighborhood barbecues in suburban New Jersey. Richard Kuklinski was Sammy the Bull Gravano's partner in the killing of Paul Castellano, then head of the Gambino crime family, at Sparks Steakhouse. Mob boss John Gotti hired him to torture and kill the neighbor who accidentally ran over his child. For an additional price, Kuklinski would make his victims suffer; he conducted this sadistic business with coldhearted intensity and shocking efficiency, never disappointing his customers. By his own estimate, he killed over two hundred men, taking enormous pride in his variety and ferocity of technique. This trail of murder lasted over thirty years and took Kuklinski all over America and to the far corners of the earth, Brazil, Africa, and Europe. Along the way, he married, had three children, and put them through Catholic school. His daughter's medical condition meant regular stays in children's hospitals, where Kuklinski was remembered, not as a gangster, but as an affectionate father, extremely kind to children. Each Christmas found the Kuklinski home festooned in colorful lights; each summer was a succession of block parties. His family never suspected a thing. Richard Kuklinski is now the subject of the major motion picture titled "The Iceman"(2013), starring James Franco, Winona Ryder, Ray Liotta, and Chris Evans.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1989.
This first complete English translation, including over 250 full-color images, is a longitudinal cultural history of how art came to be institutionalized in the history of western representational practices.
In Communities of Kinship: Retrieving Christian Practices of Solidarity with Lepers as a Paradigm for Overcoming Exclusion of Older People, Carlo Calleja describes kinship as a moral category, arguing that practicing kinship with others can cultivate virtues that shape the character of the agent. Contemporary Western society tends to focus on kinship as the sharing of blood ties or genetic material. On the other hand, the spiritual kinship that is proposed by religions tends to be exclusive and often nominal. For this reason, Calleja proposes practices and structures of solidaristic kinship, which involves sharing in the suffering of the other person. Finding parallels between the exclusion of lepers and the efforts of Christian communities to reforge kinship bonds with them in ancient and medieval times, he argues that communities of kinship with older persons can help cultivate the virtues needed for the flourishing of oneself and society.
The book collects over 120 exercises on different subjects of Mathematical Finance, including Option Pricing, Risk Theory, and Interest Rate Models. Many of the exercises are solved, while others are only proposed. Every chapter contains an introductory section illustrating the main theoretical results necessary to solve the exercises. The book is intended as an exercise textbook to accompany graduate courses in mathematical finance offered at many universities as part of degree programs in Applied and Industrial Mathematics, Mathematical Engineering, and Quantitative Finance.
In this detailed treatment of the myth of Adonis in post-Classical times, Carlo Caruso provides an overview of the main texts, both literary and scholarly, in Latin and in the vernacular, which secured for the Adonis myth a unique place in the Early Modern revival of Classical mythology. While aiming to provide this general outline of the myth's fortunes in the Early Modern age, the book also addresses three points of primary interest, on which most of the original research included in the work has been conducted. First, the myth's earliest significant revival in the age of Italian Humanism, and particularly in the poetry of the great Latin poet and humanist Giovanni Pontano. Secondly, the diffusion of syncretistic interpretations of the Adonis myth by means of authoritative sixteenth-century mythological encyclopaedias. Thirdly, the allegorical/political use of the Adonis myth in G.B. Marino's (1569-1625) Adone, published in Paris in 1623 to celebrate the Bourbon dynasty and to support their legitimacy with regard to the throne of France.
Carlo Ginzburg considers how we assign historical context to events. More than twenty years after Clues, Myths, and the Historical Method was first published in English, this extraordinary collection remains a classic. The book brings together essays about Renaissance witchcraft, National Socialism, sixteenth-century Italian painting, Freud’s wolf-man, and other topics. In the influential centerpiece of the volume Carlo Ginzburg places historical knowledge in a long tradition of cognitive practices and shows how a research strategy based on reading clues and traces embedded in the historical record reveals otherwise hidden information. Acknowledging his debt to art history, psychoanalysis, comparative religion, and anthropology, Ginzburg challenges us to retrieve cultural and social dimensions beyond disciplinary boundaries. In his new preface, Ginzburg reflects on how easily we miss the context in which we read, write, and live. Only hindsight allows some understanding. He examines his own path in research during the 1970s and its relationship to the times, especially the political scenes of Italy and Germany. Was he influenced by the environment, he asks himself, and if so, how? Ginzburg uses his own experience to examine the elusive and constantly evolving nature of history and historical research.
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.
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