The object of the volume is the analysis of the main dictionaries and glossaries of the canting language (the particular jargon spoken by thieves and vagabonds) that appeared in the 17th and 18th centuries. The scholars' attention has mostly concentrated on the earliest publications - particulary those appearing in the Elizabethan period -, while relatively little research has investigated subsequent canting dictionaries and glossaries. The aim of the present volume is to fill this gap. The main works on canting published in the 17th and 18th centuries are analysed in chapters 3 to 10. The first two chapters provide a necessary introduction to the investigation carried out in the subsequent sections, examining the great increase in the numbers of vagabonds and criminals in England in that period from a sociohistorical perspective and reviewing the 16th-century English literature about the underworld. The subsequent eight chapters give a detailed analysis of the main works on canting which appeared in the second part of the 17th century and during the whole of the 18th century. The specific features of each publication are identified, as well as the method adopted by its author in the compilation of his dictionary/glossary and the most likely sources of its entries, in order to determine the degree of novelty and relevance that his contribution has brought to this field. The final chapter deals with the evolution in the meaning of the term 'cant' itself in the period taken into consideration.
Third in “a superb historical series set in Fascist Italy . . . and featuring one of the most melancholy detectives in European noir crime fiction (The New York Times Book Review). Commissario Ricciardi has visions. He sees and hears the final seconds in the lives of victims of violent deaths. It is both a gift and a curse. It has helped him become one of the most acute and successful homicide detectives in the Naples police force. But the horror and suffering he has seen has hollowed him out emotionally. He drinks too much and sleeps too little. His love life is a shamble. Other than his loyal partner, Brigadier Maione, he has no friends. Naples, 1931. Together with Brigadier Maione, Ricciardi is investigating the death of the beautiful and mysterious Duchess of Camparino, whose connections to privileged Neapolitan social circles and the local fascist elite make the case a powder keg waiting to explode. As Benito Mussolini’s state visit to Naples looms and authorities frantically seek to clean up the city’s image, Ricciardi will stop at nothing to find the duchess’s killer. “Reading a novel by Maurizio de Giovanni is like stepping into a Vittorio De Sica movie. The sights and smells of Naples are pungently evoked.” —The New York Times Book Review “Combines a rare setting for a whodunit, Fascist Italy, with a classic fair-play puzzle and a highly unusual lead . . . a lyrical and tantalizing opening . . . intriguing.” —Publishers Weekly (starred review) “In the popular field of historical noir featuring gloomy but brilliant detectives, de Giovanni’s series easily stands out as a success.” —Library Journal (starred review)
A penetrating and freewheeling evaluation of Kants magnum opus. A best seller in Italy, Maurizio Ferrariss Goodbye, Kant! delivers a nontechnical, entertaining, and occasionally irreverent overview of Immanuel Kants Critique of Pure Reason. He borrows his title from Wolfgang Beckers Goodbye Lenin!, the 2003 film about East Germany after the fall of the Berlin Wall, which depicts both relief at the passing of the Soviet era and affection for the ideals it embodied. Ferraris approaches Kant in similar spirits, demonstrating how the structure that Kant elaborates for the understanding of human knowledge can generate nostalgia for lost aspirations, while still leaving room for constructive criticism. Isolating key themes and concerns in the work, Ferraris evaluates Kants claims relative to what science and philosophy have come to regard as the conditions for knowledge and experience in the intervening two centuries. He remains attentive to the historical context and ideals from which Kants Critique emerged but also resolute in identifying what he sees as the limits and blind spots in the work. The result is an accessible account of a notoriously difficult book that will both provoke experts and introduce students to the work and to these important philosophical debates about the relations of experience to science.
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