At the age of eleven, the daughter of a Sicilian sharecropper, Maria Grammatico, entered the San Carlo Institute in the mountaintop town of Erice, an orphanage run by nuns who were famous throughout Sicily for their almond pastries, but who were less adept at dealing with young girls. After ten years of hard work and harsh discipline, Maria emerged with the secrets of the nuns’ pastries hidden inside her head. This is the story of her carefree country childhood—her Dickensian life in the orphanage with no heat, no running water, and only wood-burning ovens—and her triumphs as an entrepreneur and a world-famous pastry chef. Bitter Almonds includes 46 of the recipes that she ‘stole’ from the nuns, committed to writing for the first time in these pages.
The Thesaurus Linguae Graecae: A Bibliographic Guide to the Canon of Greek Authors and Works (TLG®) is a comprehensive catalog of the authors and works that have survived in Greek from antiquity (eighth century BCE) to the present era and have been collected and digitized by the TLG® in its fifty-year history. It provides biographical information about each author, such as dates, place of birth, and literary activity, as well as a list of their extant works and print publications. This volume encompasses more than 4,400 authors and 17,000 individual works. It offers a concise and authoritative literary history of Greek literature and is an indispensable reference source for its study.
This book provides cutting-edge information on the epidemiology, etiopathogenesis, clinical manifestations, diagnostic procedures and treatment approaches for the main white matter (WM) disorders of the central nervous system (CNS). WM lesions are associated with many neurological conditions, and with aging. The diagnostic work-up of neurological diseases characterized by the presence of these lesions has changed dramatically over the past few years. This is mainly due on the one hand to the discovery of specific pathogenetic factors in some of these conditions, and on the order to the optimized use of diagnostic tools. All of this has resulted in new diagnostic algorithms, and in the identification of new neurological conditions. The book offers neurologists essential guidance in the diagnosis and treatment of the most frequent WM conditions, promoting their correct and cost-saving diagnosis and management. By integrating neurological, laboratory and imaging concepts with the demands of accurate diagnosis, this reference guide provides a state-of-the-art overview of the current state of knowledge on these conditions, as well as practical guidelines for their diagnosis and treatment.
A reader of the epyllion by Dracontius, the elegy by Maximianus, and the epigram by Luxorius should not expect that these works--and these new embodiments of the 'old' genres--will be wholly identical with their 'archetypes'. Were it so, it would mean that we read but second-rate versifiers, indeed. We may expect rather that thanks to the reading of Dracontius's epyllion, Maximianus's elegy, and Luxorius's epigram our understanding of these very genres may become fuller and deeper than if it was narrowed only to the study of the 'classical phase' of the Roman literature. Therefore, I have decided to employ in the title of my book the expression genres rediscovered. I have found it fair to emphasize that the poets whose works have been studied here merit appreciation for their creativity, and indeed courage, in reusing and reinterpreting the classical--and truly classic--literary heritage. In addition, I have found it similarly fair to stress that for the students of Latin literature the borderline between the 'classical' and the 'post-classical' is, and should be, flexible. It is not my intention of course to imply that aesthetic and poetological differences should be ignored or blurred. Quite the reverse, these differences are profound and multidimensional and as such must be properly understood and explained. The main issue is the fact that studies of Latin literature--or rather of literature in general - and especially generic studies require a proper, i.e. diachronic, perspective. A description of a certain genre based merely on its most important or generally known representative/representatives will always risk becoming incomplete and limited. In genology, one must be utterly prudent in defining the 'main' and the 'marginal', the 'relevant' and the 'negligible'. In this sense, an insight into a few genres practiced by some 'classical'--and classic--Roman poets from the perspective of their 'post-classical' followers may be, also for a genologist, an intriguing rediscovery.
Winner of the ASCAP Deems Taylor Award and Society of Music Theory's Wallace Berry Award This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.
The highly anticipated update of the complete textbook of dermatologic science and practice focusing on the care of patients with moderately to heavily pigmented skin – 21 new chapters with more than 900 photographs! Dermatology for Skin of Color, Second Edition is a comprehensive reference that thoroughly details every aspect of dermatologic science as it applies to skin of color – from the development of the skin to the biology of hair and nails. All commonly encountered dermatologic problems of Africans, Asians, Arabs, Native Americans, and other peoples are covered, as are other diseases with significant skin manifestations. This second edition is significantly expanded with 21 new chapters covering dermatology for geriatric, adolescent, and pregnant patients, as well as depigmenting agents, viral infections, cutaneous manifestation of internal malignancy, neurofibromatosis, tuberous sclerosis, photoaging, photosensivity, laser treatment for skin-tightening, toxins and fillers, cosmetic practices in Mexico, effects of tattooing and piercing, sickle cell disease, drug eruptions, and the biology of oral mucosa. It also features many more clinical pictures and improved organization. Extensively illustrated with more than 900 full-color photos, Dermatology for Skin of Color provides comprehensive coverage of medical, surgical, and cosmetic treatment options, pediatric dermatology, differences between skin of color and Caucasian skin, differences between ethnic groups with skin of color, and important basic science information on the structure and function of skin of color. In addition, folk remedies and over-the-counter treatments specifically targeting this population are covered.
At the age of eleven, the daughter of a Sicilian sharecropper, Maria Grammatico, entered the San Carlo Institute in the mountaintop town of Erice, an orphanage run by nuns who were famous throughout Sicily for their almond pastries, but who were less adept at dealing with young girls. After ten years of hard work and harsh discipline, Maria emerged with the secrets of the nuns’ pastries hidden inside her head. This is the story of her carefree country childhood—her Dickensian life in the orphanage with no heat, no running water, and only wood-burning ovens—and her triumphs as an entrepreneur and a world-famous pastry chef. Bitter Almonds includes 46 of the recipes that she ‘stole’ from the nuns, committed to writing for the first time in these pages.
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