Damiano and Massimiliano Carrara, owners of Carrara Pastries in Southern California, take you on a delicious journey that will make you feel like you're right in their hometown of Lucca, Italy. With basic kitchen tools and ingredients, they help you get creative about enjoying variations of numerous pastries, including family recipes that have been passed down through the generations. Whether you're craving a basic recipe, cream or custard, bite-sized pastry or gelato, you'll find it here. Filled with pictures to guide you through the baking process, each recipe is measured in grams or liter to make them easier to scale, multiply or divide. Baking demands precision, and the authors believe you need exactly the right amount of each ingredient. Demystify tasty deserts and bring flavor into your life with the easy-to-follow recipes in Dolce Italia.
Is analytic metaphysics the kind of metaphysics that contemporary analytic philosophers study? One of the aims of this special issue of the Studia Leibnitiana is to demonstrate that it would be misleading to think so. The reason is simply that some important past metaphysicians also adopted an analytic style and G. W. Leibniz is surely one of them. His analysis on the notion of identity and individuality, on the difference between artifacts and biological entities are pieces of analytic metaphysics. The other aim of the volume is to show that there is a close semantic connection between the concepts of individual, mind and body in Leibniz. The book tried to demonstrate it from both an analytical and a historical point of view. .
Is analytic metaphysics the kind of metaphysics that contemporary analytic philosophers study? One of the aims of this special issue of the Studia Leibnitiana is to demonstrate that it would be misleading to think so. The reason is simply that some important past metaphysicians also adopted an analytic style and G. W. Leibniz is surely one of them. His analysis on the notion of identity and individuality, on the difference between artifacts and biological entities are pieces of analytic metaphysics. The other aim of the volume is to show that there is a close semantic connection between the concepts of individual, mind and body in Leibniz. The book tried to demonstrate it from both an analytical and a historical point of view. .
In this issue: we start with the history of the Wallonie assault brigade, from its formation to its use on the Ukranian and Estonian fronts. Following that is the biography of a Latvian volunteer, Woldemars Veiss, one of the bravest officers, decorated with the Knight’s Cross. We continue with the employment of the Toteknkopf division in the Demyansk pocket, between January and March 1942. We conclude with a long, but hopefully interesting article by our friend Hugh Page Taylor on the recruitment centers for Italian SS volunteers, a great work of useful research for both historians and collectors.
What place is left for semantic notions? There are three main positions in response to that question: eliminativism, physicalism and semanticalism. This book argues in favour of a version of semanticalism. That version of semanticalism does not make semantic notions mysterious as if they are added from outside the realm of nature, as is the case with the Cartesian conception of mental properties. Semantic properties are treated as emergent properties reference to which serves to play a normative role in the account of the nature of linguistic expressions. The need for positing semantic properties stems from the fact that the best explanation of the nature of linguistic expressions as guides to reality, to inform and to learn about the states of the world, invokes semantic properties. It consists in endowing linguistic expressions with semantic properties that correlate them to things and states of the world. Semantics, then, should be kept distinct from the theory of meaning. We need the theory of meaning for giving an account of linguistic competence in order to explain speakers’ linguistic behaviour, but we need semantics in order to explain the nature of the objects produced by the behavioural output of linguistic competence. Consider a speaker who reads the sentence “it will be sunny and warm tomorrow” on the weather forecast page of the newspaper. We do not need to model his understanding as if he knew the semantic properties of the expressions occurring in that sentence. Rather, we need to invoke the semantic properties of that sentence, and of its constituents, in order to explain the social practice of uttering and writing it to inform people about weather conditions. This book argues that liberal naturalists are entitled to endorse the same attitude towards semantic properties as W.V.O. Quine’s towards mathematical entities. We ought to accept semantic properties since our best theory of the world makes reference to them. The metaphysical principle of the supervenience of semantic properties over naturalistic properties, though unexplained, is justified to the extent that it too belongs to our best overall theory of the world, which as a whole faces the tribunal of experience.
Led by Massimiliano and Doriana Fuksas, Studio Fuksas is one of the most outstanding international architecture firms in the world. Over the past 40 years, the company has developed an innovative approach through a strikingly wide variety of projects, ranging from urban interventions to airports; from museums to cultural centers and spaces for music; from convention centers to offices; and interiors to design collections. With headquarters in Rome, Paris, and Shenzhen, and a staff of 170 professionals, Studio Fuksas has completed more than 600 projects in the United States, Europe, Africa, Asia, and Australia, receiving numerous international awards. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Optima}
The work of Massimiliano and Doriana Fuksas enjoys a well-earned reputation for the artistic talent it expresses and for its capacity to surprise with the most risky and spectacular projects. With offices in Rome, Paris and Shenzen, the Fuksases have completed projects of contrasting scales and typologies: airports, theatrical scenographies, urban planning, large infrastructure, housing projects… This companion book to Fuksas Building features works by the studio which are focused on product design, interior design, scenography, furniture and jewelry. Perhaps the less known aspect of Fuksas' work, their product design emphasizes a natural condition in changing scales, materials and uses. Research is also very present behind every piece. The richly illustrated projects include the Armani stores, the Alessi collection and the furniture for Haworth Castelli, among many others.
The work of Massimiliano and Doriana Fuksas enjoys well-earned reputation for its artistic talent and its capacity to surprise with the most risky and spectacular projects. With offices in Rome, Paris and Shenzhen, the Fuksases have completed projects of contrasting scales and typologies: airports, theatrical scenographies, urban planning, large infrastructure, housing projects... Their most recent include the Shenzhen Airport in China, Palace of Congress in Rome, and Peres Peace House in Israel. The book also features their most emblematic creations like the Milan Trade Fair, Ferrari Research Centre in Maranello, and Armani boutique in New York. Interviews and several texts enhance the publication and help to round off the overview of this ultimate reference monograph of Fuksas' work.
Volta Redonda is a Brazilian steel town founded in the 1940s by dictator Getúlio Vargas on an ex-coffee valley as a powerful symbol of Brazilian modernization. The city’s economy, and consequently its citizen’s lives, revolves around the Companha Siderurgica Nacional (CSN), the biggest industrial complex in Latin America. Although the glory days of the CSN have long passed, the company still controls life in Volta Redonda today, creating as much dispossession as wealth for the community. Brazilian Steel Town tells the story of the people tied to this ailing giant – of their fears, hopes, and everyday struggles.
Hi, I’m Luigi Rapagina. You may remember me from such automated information kiosks as “The Colosseo Quadrato” or “Piazza di Spagna”. This time I’m going to guide you through the secrets and magic of the Trevi Fountain, the most famous and beautiful fountain in the whole world. Before we start, let me give you a piece of advice. Once in front of the fountain, sit down and rest for about half an hour, fill a bottle of water at the Nasone (a typical Roman drinking fountain) that you will find on the right side of the big pool and bathe your eyes in the overwhelming beauty surrounding you: now that’s a glimpse of Rome that will be hard to forget! This is the most famous fountain in the world... And just one more thing: don’t forget to toss a coin over your shoulder into the fountain ! It’ll bring you luck!
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