This book argues convincingly against the widespread opinion that very few syntactic studies were carried out before the 1950s. Relying on the detailed analysis of a large amount of original sources, it shows that syntactic matters were in fact carefully investigated throughout both the 19th century and during the first half of the 20th century. Moreover, it illustrates how the enormous development of syntactic research in the last fifty years has already condemned even several recent ideas and analyses to oblivion, and deeply influenced current research programs. The wealth of research undertaken over the last two centuries is presented here in a systematic way, taking as its starting point the relationship of syntax with psychology throughout this period. The critical ideas expressed in the text are based on a detailed illustration of the different syntactic models and analyses rather than on the polemics between the different schools.
This volume is a collection of lectures and selected papers by Giorgio Parisi on the subjects of Field Theory (perturbative expansions, nonperturbative phenomena and phase transitions), Disordered Systems (mainly spin glasses) and Computer Simulations (lattice gauge theories).The basic problems discussed in the Field Theory section concern the interplay between perturbation theory and nonperturbative phenomena which are present when one deals with infrared or ultraviolet divergences or with nonconvergent perturbative expansions. The section on Disordered Systems contains a complete discussion about the replica method and its probabilistic interpretation, and also includes a short paper on multifractals. In the Simulations section, there is a series of lectures devoted to the study of quantum chromodynamics and a review paper on simulations in complex systems.The works of Giorgio Parisi have repeatedly displayed a remarkable depth of originality and innovation, and have paved the way for new research in many areas. This personal selection of his lectures and papers, complete with an original introduction by him, undoubtedly serves as a vital reference book for physicists and mathematicians working in these fields.
Complex Finsler metrics appear naturally in complex analysis. To develop new tools in this area, the book provides a graduate-level introduction to differential geometry of complex Finsler metrics. After reviewing real Finsler geometry stressing global results, complex Finsler geometry is presented introducing connections, Kählerianity, geodesics, curvature. Finally global geometry and complex Monge-Ampère equations are discussed for Finsler manifolds with constant holomorphic curvature, which are important in geometric function theory. Following E. Cartan, S.S. Chern and S. Kobayashi, the global approach carries the full strength of hermitian geometry of vector bundles avoiding cumbersome computations, and thus fosters applications in other fields.
This book argues convincingly against the widespread opinion that very few syntactic studies were carried out before the 1950s. Relying on the detailed analysis of a large amount of original sources, it shows that syntactic matters were in fact carefully investigated throughout both the 19th century and during the first half of the 20th century. Moreover, it illustrates how the enormous development of syntactic research in the last fifty years has already condemned even several recent ideas and analyses to oblivion, and deeply influenced current research programs. The wealth of research undertaken over the last two centuries is presented here in a systematic way, taking as its starting point the relationship of syntax with psychology throughout this period. The critical ideas expressed in the text are based on a detailed illustration of the different syntactic models and analyses rather than on the polemics between the different schools.
Nel 1986 l’editore Franco Maria Ricci sottopose allo sguardo di Giorgio Manganelli immagini disparate: tabacchiere e stemmi come celebri quadri e affreschi, vetri preziosi e fotografie, disegni e frammenti di templi. Immobile al suo tavolo di scrittore, Manganelli elaborava prosa sulla base di queste immagini, scriveva cronache di visite immaginarie come un nuovo Diderot che ci offra resoconti di sempre rinnovati "Salons". E il risultato fu una variazione trascendentale di quello stile avvolgente e onnipervasivo di cui Manganelli era maestro. Possiamo essere certi che quanto quello stile gli ha dettato non si sovrapporrà ad alcunché sia già stato detto dagli storici dell’arte o dai cultori delle varie materie. E possiamo essere certi che le sue parole si annideranno a lungo nella nostra memoria. E quando leggeremo che certi gessi rivelano «la tristezza della neve mentale» sapremo subito a chi dobbiamo questa composizione verbale. Salons raduna articoli apparsi nel 1986 sulla rivista «FMR».
How do you translate Giorgio Armani into architecture? For the Armani/Ginza Tower, it was essential to project not only Giorgio Armanis creativity as a designer, but his one and only personality, recreating the atmosphere of the atelier of the Italian creative genius, as well as his aesthetic code and personal image. How do you combine the concept of luxury with restrained elegance, the concept of absolute modernity with a lasting style the Armani style? In Tokyo, for the first time ever, the entirety of his work and image is represented in a single building.
An unprecedented catalogue exploring the formal and visual affinities and contrasts between Josef Albers and Giorgio Morandi—two of modern art’s greatest painters. Rarely seen together, the artworks of Josef Albers (1888–1976) and Giorgio Morandi (1890–1964) share many similarities. Although they never met, both artists worked in series as they explored difference and potential through their distinctive treatment of color, shape, form, and morphology. They were also both influenced by Cezanne. As master illusionists and experts in proportion, they tackled similar conceits from different perspectives. Albers focused on the effects of subtle or bold changes and interactions in color, while Morandi made still lifes that treat simple objects as a cast of characters on a stage, exploring their relationship in space. Published on the occasion of the critically acclaimed exhibition Albers and Morandi: Never Finished at David Zwirner New York in 2021, the book illuminates the visual conversation between these two artists. With the exhibition hailed by The New Yorker’s Peter Schjeldahl as “one of the best … I’ve ever seen,” this publication brings this unusual, thought-provoking pairing to your home. Gorgeous reproductions are accompanied by a roundtable about form and color between the exhibition’s curator, David Leiber; Heinz Liesbrock, the director of the Josef Albers Museum Quadrat Bottrop; and Nicholas Fox Weber, the executive director of The Josef and Anni Albers Foundation, as well as an essay by Laura Mattioli, the Morandi expert and founder of the Center for Italian Modern Art.
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