Being part of a circle of writers who meet and exchange ideas through a Facebook group - nowadays it's all done through social networks - I launched to the others the idea of creating a story or a poem inspired by a Leonardo Longhi’s sculpture. That said, in a very short time the convened responded and, even faster, we created this beautiful little volume. A challenge? Yes, a good and beautiful challenge. Leonardo challenged us to move from images to words. Who won the challenge: the sculptor or the authors? I'd say both. Try reading the words, keeping the images in mind, and you will see that images and words will no longer appear to be opposite, but complementary. In Oscar Sartarelli’s words, no longer Wolf and Deer, but two souls in one body. What we find in Leonardo Longhi's wood sculptures and in the writings of those authors who participated, is a single entity: the man. In its various facets, but always the man.
Taking a novel anthropological approach to the issue of white ethnicity in the United States, this book challenges the model of uniform ethnic family and community culture, and argues for a reconsideration of the meaning of class, kinship, and gender in America's past and present. Micaela di Leonardo focuses on a group of Italian-American families who live in Northern California and who range widely in economic status. Combining the methods of participant-observation, oral history, and economic-historical research, she breaks decisively with the tradition of viewing white ethnicity solely as Eastern, urban, and working class. The author integrates lively narrative accounts with analysis to give a fresh interpretation of ethnic identity as both materially grounded and individually negotiated. She examines the ways in which different occupational experiences influence individual choice of family or community as the unit of collective ethnic identity, and she considers the boundaries at which individuals, particularly women, work out their personal ethnic identities. Her analysis illuminates the political meanings that the images of ethnic woman and family have taken on in popular discourse. A provocative study that sets the reflections of a broad range of Italian-Americans in the context of their varied life histories, this book provides an informed commentary on family, class, culture, and gender in American life.
This volume forms part of the 2 volume facimile Architecture of the Renaissance. This set considers the effect of the new artistic culture on the changes that took place in the fifteenth century Italian cities and then throughout Europe.
Machine generated contents note: -- Preface -- Chapter 1 - Exile and Post-Exile in Analytical Perspective -- Chapter 2 - Escape, Deportation and Exile: The Contours of Institutionalized Exclusion -- Chapter 3 - Exile and Diaspora Politics: Mobilizing to Undo Exclusion -- Chapter 4 - Diaspora and Home Country Initiatives, Transnational Networks and State Policies -- Chapter 5 - Surviving Authoritarianism, Contributing to the Agenda of Democratization -- Chapter 6 - Undoing Exile? Remembering, Imagining, Envisioning -- Chapter 7 - The Transformational Role of Culture and Education: Impacting the Future -- Chapter 8 - Shifting Frontiers of Citizenship -- Conclusions -- About the Authors -- Index
This new Great collection of his art and notes from Cheapest Books. Put together all notes and drawings of Da Vinci as found, not need reordered. A singular fatality has ruled the destiny of nearly all the MOST FAMOUS OF LEONARDO DA VINCI'S WORKS. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. Leonardos literary labours in various departments both of Art and of Science were those essentially of an enquirer, hence the analytical method is that which he employs in arguing out his investigations and dissertations. The vast structure of his scientific theories is consequently built up of numerous separate researches, and it is much to be lamented that he should never have collated and arranged them. His love for detailed research—as it seems to me—was the reason that in almost all the Manuscripts, the different paragraphs appear to us to be in utter confusion; on one and the same page, observations on the most dissimilar subjects follow each other without any connection. A page, for instance, will begin with some principles of astronomy, or the motion of the earth; then come the laws of sound, and finally some precepts as to colour. Another page will begin with his investigations on the structure of the intestines, and end with philosophical remarks as to the relations of poetry to painting; and so forth. Leonardo himself lamented this confusion, and for that reason I do not think that the publication of the texts in the order in which they occur in the originals would at all fulfil his intentions. No reader could find his way through such a labyrinth; Leonardo himself could not have done it. Added to this, more than half of the five thousand manuscript pages which now remain to us, are written on loose leaves, and at present arranged in a manner which has no justification beyond the fancy of the collector who first brought them together to make volumes of more or less extent. Nay, even in the volumes, the pages of which were numbered by Leonardo himself, their order, so far as the connection of the texts was concerned, was obviously a matter of indifference to him. The only point he seems to have kept in view, when first writing down his notes, was that each observation should be complete to the end on the page on which it was begun.
The Notebooks of Leonardo Davinci. Widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived. Leonardo Davinci was an Italian polymath whose areas of interest included invention, painting, sculpting, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, writing, history, poetry, and cartography. He has been variously called the father of paleontology, ichnology, and architecture. Sometimes credited with the inventions of the parachute, helicopter and tank, his genius epitomized the Renaissance humanist ideal. Complete works of his notes, does not include photos, drawings, or illustrations of his work.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description.
More than fifteen hundred extracts containing the Renaissance genius' maxims, prophecies, fables, letters, and brilliant observations in architecture, painting, physiology, geography, and other fields
This handsome book offers a unified and fascinating portrait of Leonardo as draftsman, integrating his roles as artist, scientist, inventor, theorist, and teacher. 250 illustrations.
Being part of a circle of writers who meet and exchange ideas through a Facebook group - nowadays it's all done through social networks - I launched to the others the idea of creating a story or a poem inspired by a Leonardo Longhi’s sculpture. That said, in a very short time the convened responded and, even faster, we created this beautiful little volume. A challenge? Yes, a good and beautiful challenge. Leonardo challenged us to move from images to words. Who won the challenge: the sculptor or the authors? I'd say both. Try reading the words, keeping the images in mind, and you will see that images and words will no longer appear to be opposite, but complementary. In Oscar Sartarelli’s words, no longer Wolf and Deer, but two souls in one body. What we find in Leonardo Longhi's wood sculptures and in the writings of those authors who participated, is a single entity: the man. In its various facets, but always the man.
Aonia edizioni. Napoli pre-normanna è da ritenersi tra gli esempi meglio documentati e meno studiati di insediamento cittadino nell'Italia meridionale. Caratteristiche sono la complessità urbana, la variegata composizione sociale ed il tessuto economico precocemente attivo. L'analisi delle fonti mostra una città con edifici sviluppati in altezza, una significativa presenza di bagni, strutture di approvvigionamento idrico e di smaltimento dei rifiuti. L'attestazione di due mercati cittadini, di diversi magazzini e botteghe e di un'area portuale molto estesa è un chiaro segno di dinamismo economico. Il X secolo è da considerarsi per Napoli un periodo di grande splendore sia dal punto di vista economico che politico e culturale. È questo per l'intero impero d'Oriente un periodo di riscossa politico-militare e di grandissimo fervore culturale: si successero imperatori del calibro di Leone VI Sophos (886-912), Costantino VII (913-959) e Romano I Lecapeno (920-944) che incentivarono le leggi e le lettere.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
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.