A serial killer holds New York in his grip. He does not choose his victims. Nor does he watch them die. But then there are too many of them for that. The explosion of a twenty-two storey building, followed by the casual discovery of a letter, lead the police to face up to a dreadful reality: some of New York's buildings were mined at the time of their construction. But which ones? And how many? A young female detective hiding her personal demons behind a tough appearance, and a former press photographer with a past he'd rather forget, and for which he still seeks forgiveness, are the only hope of stopping this psychopath. A man who does not even claim responsibility for his actions. A man who believes himself to be God.
From a bestselling Italian author comes a sharply observed new mystery set in the seedy underworld of 1970s Milan Giorgio Faletti's first thriller, I Kill, took Europe by storm, selling over five million copies. The Corriere della Sera, Italy's leading newspaper, crowned him "the greatest Italian writer." In 2010, with the explosive publication of A Pimp's Notes, Faletti won international celebrity as a writer of world-class, tightly wound, psychologically nuanced thrillers. It's 1978. Italy has just been shocked by the kidnapping of the politician Aldo Moro by the left-leaning terrorist group the Red Brigades. In Milan, the upper class continues to amuse itself in luxury restaurants, underground clubs, and cabarets. This is Bravo's milieu. Enigmatic and cynical, Bravo makes his living catering to the tastes, fantasies, and fetishes of the wealthy and depraved. When the mysterious Carla enters his life, what begins as a clandestine romance quickly becomes a nightmare that will transform Bravo into a man wanted by the police, by organized crime, and even by the Red Brigades. As the web around him tightens, Bravo will be forced to confront the violence of the times in which he lives as well as his own connections to the political and criminal networks that control contemporary Italy.
Bravo makes his living catering to the tastes, fantasies and fetishes of the wealthy and depraved but when the mysterious Carla enters his life, what begins as a clandestine romance quickly becomes a nightmare that will transform Bravo into a man wanted by the police, by organized crime, and the Red Brigades.
This book delineates the attempt, carried out by the Congregations of the Inquisition and the Index during the sixteenth and early seventeenth century, to purge various devotional texts in the Italian vernacular of heterodox beliefs and superstitious elements, while imposing a rigid uniformity in liturgical and devotional practices. The first part of the book is focused on Rome's anxious activity toward the infiltration of Protestant ideas in vernacular treatises on prayer meant for mass consumption. It next explores how, only in the second half of the sixteenth century, once Rome's main preoccupation toward Protestant expansion had subsided, the Church could begin thinking about a move from a rejection of any consideration of the merits of interior prayer to a recovery and acceptance of mental prayer. The final section is dedicated to the primary objective of the Church's actions in purging superstitious practices which was not simply the renewal of the spiritual life of the faithful, but also the control of the religious and social life of many faithful who were uneducated. Based on a careful examination of the archival records of the two Roman dicasteri in question, many of which have only been accessible to scholars since 1998, as well as a close reading of the many of suspect devotional texts themselves, this book offers a fascinating contribution towards a fuller appreciation of the complex landscape that characterized the spiritual realities of early modern Italy.
Claudio Marino, insegnante di lettere in un liceo torinese, insoddisfatto della sua vita e del suo lavoro, decide di indossare una maschera fatta di gentilezza e cordialità, ma dentro di lui cova rabbia e odio per tutto ciò che lo circonda. Odia i suoi alunni, i suoi colleghi, il fratello, la gente, il mondo. Vive chiuso in casa come in una roccaforte e nel suo livore come una prigione. C’è soltanto una persona che suscita in lui un interesse morboso, quasi ossessivo: una bella ragazza bionda, che pare aspettarlo, che sia alla fermata del tram oppure sotto casa. Di lei non sa nulla, né il suo nome, né dove abita, né chi sia, sa solo che ha un cappotto rosso e un sorriso che lo attrae. Sarà un’attrazione fatale?
Nel campo sterminato del possibile, ognuno è una frase, ognuno è una canzone, ognuno è un romanzo." Un libro autobiografico in cui l'autore di lo uccido si mette a nudo. Con ironia e candore. Con umorismo e tenerezza. Due Cd musicali incisi per la prima volta. In "Quando" Faletti interpreta le sue canzoni già portate al successo da altri. In "Ora" propone dodici canzoni del tutto inedite.
This volume reflects a multidisciplinary approach, with the accent on the interplay between music performance and music theory. Thomas Christensen, in his contribution, shows how the development of tonal harmonic theory went hand in hand with the practice of thoroughbass. Both Robert Gjerdingen and Giorgio Sanguinetti focus on the Neapolitan tradition of partimento. Gjerdingen addresses the relation between the realization of partimenti and contrapuntal thinking, illustrated by examples of contrapuntal imitation and combination in partimenti, leading to the "partimentofugue." Sanguinetti elaborates on the history of this partimentofugue from the early eighteenth until the late nineteenth century. Rudolf Lutz, finally, presents his use of partimenti in educational practice, giving examples of how reviving this old practice can give new insights to composers, conductors, and musicians.
At the height of the Enlightenment, four conservatories in Naples stood at the center of European composition. Maestros taught their students to compose with unprecedented swiftness and elegance using the partimento. In The Art of Partimento, performer and historian Giorgio Sanguinetti provides students and scholars of composition and music theory an historical chronicle as well as a practical guide, offering them the opportunity not only to understand the life of this fascinating tradition, but to participate in it as well.
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