Guido Mazzoni tells the story of poetry's revolution in the modern age. The chief transformation was the rise of the lyric as it is now conceived: a genre in which a first-person speaker talks about itself. Mazzoni argues that modern poetry embodies the age of the individual and has wrought profound changes in the expectations of readers.
In his theory of the novel, Guido Mazzoni explains that novels consist of stories told in any way whatsoever about the experiences of ordinary men and women who exist as contingent beings within time and space. Novels allow readers to step into other lives and other versions of truth, each a small, local world, absolute in its particularity.
The novel is the most important form of Western art. It aims to represent the totality of life; it is the flagship that literature sends out against the systematic thought of science and philosophy. Indebted to Lukács and Bakhtin, to Auerbach and Ian Watt, Guido Mazzoni’s Theory of the Novel breaks new ground, building a historical understanding of how the novel became the modern book of life: one of the best representations of our experience of the world. The genre arose during a long metamorphosis of narrative forms that took place between 1550 and 1800. By the nineteenth century it had come to encompass a corpus of texts distinguished by their freedom from traditional formal boundaries and by the particularity of their narratives. Mazzoni explains that modern novels consist of stories told in any way whatsoever, by narrators who exist—like us—as contingent beings within time and space. They therefore present an interpretation, not a copy, of the world. Novels grant new importance to the stories of ordinary men and women and allow readers to step into other lives and other versions of truth. As Theory of the Novel makes clear, this art form narrates an epoch and a society in which individual experiences do not converge but proliferate, in which the common world has fragmented into a plurality of small, local worlds, each absolute in its particularity.
Guido Mazzoni tells the story of poetry's revolution in the modern age. The chief transformation was the rise of the lyric as it is now conceived: a genre in which a first-person speaker talks about itself. Mazzoni argues that modern poetry embodies the age of the individual and has wrought profound changes in the expectations of readers.
Overt subjects are usually considered as a property of finite clauses. However, most Romance languages permit specified subjects in a broad range of infinitive constructions. Guido Mensching analyzes this phenomenon in stages of French, Italian, Spanish, Portuguese and other Romance varieties.
Gramsci's works, in particular his Prison Notebooks, are a real 'workshop' of activity. Even though these texts were the product of a great mind and an organic conception of the world, the particular context in which they are written poses challenges for their interpreters. This philological 'excavation' of the pathways of Gramsci's thinking brings us closer to an author who is more 'widely-known' than he is understood. The first part of the volume deals with central themes of Gramsci's worldview such as the concepts of the state, civil society, ideology, common sense, morality and conformism. The second part deals with Gramsci’s relations with thinkers as diverse as Machiavelli, Marx, Engels, Labriola, Togliatti, whereas the third part offers some reflections on the metaphors used by Gramsci as well as contemporary views of the Sardinian Communist. First published in Italian by Carocci Editore as Sentieri gramsciani, 2006.
Guido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events. Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labor markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic.
In a concise, compelling argument, one of the founders and most influential advocates of the law and economics movement divides the subject into two separate areas, which he identifies with Jeremy Bentham and John Stuart Mill. The first, Benthamite, strain, “economic analysis of law,” examines the legal system in the light of economic theory and shows how economics might render law more effective. The second strain, law and economics, gives equal status to law, and explores how the more realistic, less theoretical discipline of law can lead to improvements in economic theory. It is the latter approach that Judge Calabresi advocates, in a series of eloquent, thoughtful essays that will appeal to students and scholars alike.
In this highly original study of Italian baroque master Guido Reni (1575-1642), Richard Spear paints a compelling portrait of the artist - his complexities, his formative experiences, his cultural surroundings, and his unique sensibilities. Spear views Reni's career from a wide variety of perspectives and sets his life and works in social, economic, historical, artistic, religious, and psychological contexts. The author focuses first on Reni's peculiar character: a man at once deeply religious, rabidly misogynist, reportedly virginal, neurotically fearful of witches, and addicted to gambling. The author considers the enduring charisma of Reni's Crucifixions, weeping Marys, and repentant saints in the light of the Catholic doctrinal meaning of grace in Reni's time, the Church's attitude toward Mary and women, and the gendered implications of visual grace. Chapters on Reni's pricing policies, selling strategies, use of assistants, and attitude toward what constituted an "original", expose the motivating importance of money for Reni, and the concerns, even among seventeenth-century collectors, about how to distinguish original paintings from studio replicas or copies. The book investigates the ways renaissance and baroque attitudes toward art-making affected Reni and closes with a fresh view of Reni's unfinished canvases and last style, including the Divine Love, the beautiful and unusual painting that remained in Reni's studio at the time of his death.
The Identity of the Local Communities of Eastern Anatolia, South Caucasus and Periphery During the Late Bronze and Early Iron Age. A Reassessment of the Material Culture and the Socio-Economic Landscape
The Identity of the Local Communities of Eastern Anatolia, South Caucasus and Periphery During the Late Bronze and Early Iron Age. A Reassessment of the Material Culture and the Socio-Economic Landscape
This study analyses the social and symbolic value of the material culture, in particular the pottery production and the architecture, and the social structure of the local communities of a broad area encompassing Eastern Anatolia, the South Caucasus and North-western Iran during the last phase of the Late Bronze Age and the Early Iron Age. This broad area is known from the Assyrian texts as ‘Nairi lands’. The second part of the study, furnishes a reassessment of pottery production characteristics and theories, as well as of the socio-economic structure and issues, tied to the sedentary and mobile local communities of the Nairi lands. The study brings into focus the characteristics, the extension and the distribution of Grooved pottery, along with other pottery typologies, by providing an accompanying online catalogue with detailed descriptions and high-resolution images of the pots and sherds obtained from public and private institutions in Turkey and Armenia. Moreover, the socio-political organisation and subsistence economy issues are addressed in order to advance a possible reconstruction of the social structure of the Nairi lands communities. Particular attention is devoted to the pastoral nomad component and the role played within the Nairi phenomenon. The study includes a very large corpus of text images and high-resolution color images of the pottery of the area under examination, gathered by the author in order to offer a reliable tool and compendium.
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