Although fifty years passed since the boom of the theories on Japanese national character and considerable academic literature was produced to debunk its ideological tenets, the Nihonjinron still plays a significant role in the mainstream public discourse on Japanese identity. Intellectuals, journalists, policymakers routinely repropose the ever-lasting cliché of Japanese cultural, linguistic, racial uniqueness. In doing so, they adopt a primordialist stance in the narration of Japanese identity, that is a conception of Japanese nation as a primordial entity, located in an original fatherland since immemorial times. Drawing on the writings of Suzuki Takao and Watanabe Shoichi, the book analyses the rhetorical strategies and discursive features supporting essentialist ideas of Japaneseness. At the same time, it highlights the heuristic value of primordialism as an effective descriptor of the nationalist ideology, thus challenging its widespread usage as a category of analysis.
Although fifty years passed since the boom of the theories on Japanese national character and considerable academic literature was produced to debunk its ideological tenets, the Nihonjinron still plays a significant role in the mainstream public discourse on Japanese identity. Intellectuals, journalists, policymakers routinely repropose the ever-lasting cliché of Japanese cultural, linguistic, racial uniqueness. In doing so, they adopt a primordialist stance in the narration of Japanese identity, that is a conception of Japanese nation as a primordial entity, located in an original fatherland since immemorial times. Drawing on the writings of Suzuki Takao and Watanabe Shoichi, the book analyses the rhetorical strategies and discursive features supporting essentialist ideas of Japaneseness. At the same time, it highlights the heuristic value of primordialism as an effective descriptor of the nationalist ideology, thus challenging its widespread usage as a category of analysis.
Although Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since 2001: A Space Odyssey (1968), his films seem to definitively exploit all cinematic techniques, embodying a compelling visual and aural experience. But, as author Elisa Pezzotta contends, it is for these reasons that his cinema becomes the supreme embodiment of the sublime, fruitful encounter between the two arts and, simultaneously, of their independence. Stanley Kubrick's last six adaptations—2001: A Space Odyssey, A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999)—are characterized by certain structural and stylistic patterns. These features help to draw conclusions about the role of Kubrick in the history of cinema, about his role as an adapter, and, more generally, about the art of cinematic adaptations. The structural and stylistic patterns that characterize Kubrick adaptations seem to criticize scientific reasoning, causality, and traditional semantics. In the history of cinema, Kubrick can be considered a modernist auteur. In particular, he can be regarded as an heir of the modernist avant-garde of the 1920s. However, author Elisa Pezzotta concludes that, unlike his predecessors, Kubrick creates a cinema not only centered on the ontology of the medium, but on the staging of sublime, new experiences.
OLD ITALIAN LACE. Volume I. Originally published in 1913. How can we discover the first origin of an art so modest as to be content to remain almost exclusively feminine and anonymous, flourishing in the silence of the cloister and the quiet of the fireside The meek nun stitching at an altar-cloth, or the young mother happy in the preparation of babyclothes and trimming the fine Iinen with the new form of embroidery, were all unconsciously building up the foundation of the History of Lace, and did not think of dating their handiwork. But since there are people who believe the art of lacemaking to be co-eval with that of embroidery, while others affirm that it is of Italian invention and relatively modern, it may be worth while to seek the truth from two impartial sources among documents - inventories, trousseaux lists or deeds of distinguished families apportioning property - and old pictures. Many of the earliest books on weaving, textiles and needlework, particularly those datin
Catalogo/monografia bilingue (ita / en). Questo catalogo costituisce la prima monografia organica su Francesco Simoncini, ricostruita attraverso il materiale iconografico e documentario – in gran parte inedito – esposto nella omonima mostra di Bologna. Un libro che ripercorre le innovazioni e i traguardi raggiunti da questo singolare personaggio del Novecento italiano. Imprenditore dalle idee innovative e progettista autodidatta di caratteri per la stampa, Simoncini ha testimoniato come pochi altri il valore di un approccio globale al progetto, dove estetica e funzionalità, umanità e ricerca sono tutti elementi equivalenti e indispensabili. Nel progettare i propri caratteri, Simoncini si è sempre posto come obiettivi essenziali la chiarezza e la leggibilità. Questa attenzione, unita alle capacità imprenditoriali e alla diffusione della tecnologia Linotype, fece sì che a partire dagli anni Cinquanta i suoi caratteri ebbero largo impiego in ogni ambito della stampa in Italia: dal Delia, progettato per gli elenchi telefonici, al Garamond Simoncini, impiegato dalle edizioni Einaudi a partire dal 1960, e divenuto il carattere più emblematico e rappresentativo dell’editoria italiana del dopoguerra. E ancora oggi alcuni dei suoi caratteri, anche se creati per una tecnologia ormai obsoleta, sono noti e apprezzati in tutto il mondo. Anche come imprenditore Simoncini si distinse per le sue iniziative originali, sempre attente a valorizzare il contributo dei collaboratori e dei dipendenti. Alla fine della guerra, era riuscito a trasformare la piccola officina paterna di riparazioni per Linotype in una grande industria internazionale per la progettazione e produzione di caratteri. La sua attenzione si estese anche al di fuori dell’azienda assumendo ruoli di rilievo in associazioni di settore e impegnandosi nella formazione dei giovani tecnici e nella standardizzazione della tecnologia. Il catalogo è arricchito dai contributi di Antonio Cavedoni, disegnatore di caratteri, e Elisa Rebellato, studiosa di storia dell’editoria. I loro saggi ripercorrono sia la vicenda biografica e imprenditoriale di Francesco Simoncini che l’analisi dei principali caratteri prodotti dalle Officine Simoncini. Una mostra di Griffo, la grande festa delle lettere, sul contributo di Francesco Simoncini (1912-1975) come imprenditore e type designer, curata da Antonio Cavedoni ed Elisa Rebellato. Traduzione di Johanna Bishop. Grafica: Dina&Solomon. Ebook a layout fisso: se ne consiglia la lettura su uno schermo ampio.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.