Since the nineteenth century, Campari has been responsible for some of the most distinctive and innovative commercial imagery created in Italy. Founded in Milan in 1860, the company quickly began to pursue a dynamic approach to marketing its products, harnessing the new power of the advertising poster. Aiming to create a sophisticated brand, Campari worked with some of the most celebrated designers of the early 1900s, including Leonetto Cappiello, Marcello Dudovich, Adolf Hohenstein, and Marcello Nizzoli. It was, however, the ground-breaking campaigns created by the Futurist artist Fortunato Depero that became Campari's most celebrated commissions. From the mid-1920s, his bold, witty and geometric designs modernised Campari's look, creating an unmistakable visual identity; his designs were also the basis of the famous conical Campari Soda bottle, launched in 1932. Depero's belief that the publicity poster would be 'the painting of the future' continued to inform Campari's post-war commissions, which included elegant and vibrant designs epitomising the spirit of the 'Swinging Sixties'. Drawn from the company's extensive archives in Milan, the show features Belle Époque posters and original artwork for the revolutionary campaigns of the 1920s, in addition to equally striking examples of post-war graphic design and a range of vintage crates, glasses, plaques and other ephemera. Exhibition: Estorick Collection, London, UK (4.7 - 16.9.2018).
Se dovessi definire con una sintesi il periodo in cui si svolge l’azione di Body and soul, quello della Torino fra il 1973 e il 1974, adotterei l’espressione usata dall’autore: il tempo in cui “le soffitte non si chiamavano ancora mansarde” . E non per servirmene come di una semplificazione lessicale, ma come di qualcosa che implicava una concezione diversa (un uso diverso!) della divisione dello spazio sociale in uno stesso ambiente Complice la penombra della soffitta (ben lontana ancora dall’idea della pretenziosa mansarda), la lettura del romanzo di Paolo Cuniberti ci proietta in una città pensata dall’alto dei tetti, ma vissuta al livello più basso, quello stradale. Lassù, l’amore (realizzato o solo vagheggiato), quaggiù, lo scazzo quotidiano del far passare le ore. E nella solita “piola” munita di biliardo. Due luoghi simmetrici e opposti. In alto, il sogno ossessivo dell’amore; in basso, il continuo presente, fatto di piccole cose: la speranza di rimediare alla fame con un panino e un bicchiere di vino, l’attesa dell’eventuale possibilità di qualche ora di lavoro tanto per sfangarla fino a domani, le chiacchiere con i soliti quattro sfigati, nella cappa di fumo delle sigarette. La storia potrebbe essere quella di un classico romanzo di formazione, in cui il protagonista, giovane scapestrato senza fissa occupazione, cerca la via del suo riscatto personale e generazionale. La vicenda ha tuttavia molti altri punti focali a volte apparentemente antitetici: si attraversano, allora come oggi, anni di crisi economica e di grave incertezza sul futuro; il mondo giovanile è tutt’altro che compatto ma si muove in una condizione magmatica priva di punti fermi; c’è una strana e un po’ controversa storia d’amore con una ragazza dalla morale ambivalente; c’è la società plumbea degli anni che hanno seguito il ’68 e in cui sono maturati i fatti più gravi di quel decennio, e le reminiscenze di un mondo di provincia ancora quasi intatto; ci sono gli eterni profittatori della situazione contingente e gli sconfitti. Il tutto è narrato con ironia e divertimento, con un linguaggio agile e colorito. Su questo fondale irripetibile - e irripetuto negli anni successivi -, ma molto coinvolgente come atmosfera locale e temporale, si tesse la trama del romanzo. Ma forse fondale non è il termine appropriato: nel romanzo, le soffitte, la città bassa, quegli anni, i frequentatori del biliardo del bar Esperia e di locali analoghi - come pure l’addetta a infrangere le indeterminatezze del sogno, la razionale Lidia -, sono altrettanti protagonisti quanto il sempliciotto Guido. Forse perché è proprio il suo sguardo indulgente e benevolo a raccontarceli per farceli conoscere e, infine, comprendere e amare. Alle note di Body and soul, portate dal sax di Archie Shepp nell’angustia della soffitta, il compito di segnare la differenza fra il lassù del sottotetto e il quaggiù della strada, fra la fantasia e la quotidianità, fra un lontano ieri che ci appartiene e un oggi che ci sfugge. Sonia Piloto Di Castri
Una grande villa isolata nel verde toscano spezzato dall’azzurro accecante di una piscina. Intorno, alberi, siepi, ordinati cespugli, un sentiero che conduce al fiume e, poco oltre, in cima a un’altura, le rovine di un teatro romano. Su questa scena di nobile semplicità e quieta grandezza irrompono con rumore stridente di acciaio il regista Teresio e i suoi attori dai corpi perennemente lucidi e sorvegliati, dai sorrisi porcellanati, dagli occhiali scuri che intercettano i raggi del sole di agosto. Devono girare un film nella villa, ma il loro intento programmatico – la loro mission – è più insidioso: mostrare a Sandra, la padrona di casa, la fine della sua epoca e della sua cultura, farla rinascere, battezzarla figlia dell’Oggi. Più i giorni passano, nella casa polverosa, rovente, più le maglie del gioco di Teresio – cui non si può nemmeno riconoscere l’attenuante della spietatezza, non avendo mai saputo cosa sia la pietà – si stringono intorno a Sandra, vittima delle angherie spesso inconsapevoli degli attori, figuranti di una messinscena che si sostituisce gradualmente alla realtà, deformata dall’onnipresente obiettivo di Teresio, che registra ogni cosa, e ogni cosa racconta registrandola: il mondo, senza un supporto digitale, non esiste. In questo meccanismo apparentemente infallibile, però, qualcosa si inceppa: la vita scarta, oppone una resistenza liquida e imprendibile ai tentativi del gruppo di ridurla ai minimi termini. E l’unico esito possibile è il disastro. Plastica trasparente, metallo abbagliante, la velocità dirompente dei proiettili e l’amniotica inevitabilità delle cellule: l’estetica di Teresio e dei suoi attori, cioè la loro etica, poggia su queste fondamenta, e su queste Paolo Sortino – fra gli scrittori italiani con temporanei più significativi e riconoscibili – costruisce una struttura romanzesca che l’unità di luogo e tempo propria della tragedia classica trasforma in una trappola asfissiante: prigioniero nella villa insieme a Sandra e allo stesso tempo complice riluttante dei suoi aguzzini, il lettore trattiene il fiato, in attesa – come dopo un tuffo – della boccata d’aria che libera i polmoni. Ma è una liberazione impossibile: nel mondo sottovuoto di Teresio e dei suoi giovani liberal non c’è aria.
«Un libro che si fa leggere due volte. La prima, tutto d’un fiato, senza metterlo giù, tanto avvincono trama e personaggi. La seconda, per assaporarne il linguaggio raffinato eppure semplice, i giochi di parole, i riferimenti letterari, tutti azzeccati, la poesia dell’amore – fresco e impetuoso negli adolescenti, stanco e rituale tra coniugi – e quello della lussuria tornacontista. Con pochi tocchi di penna, Nelli crea atmosfere e sensazioni. Il grande pregio di questo romanzo consiste nella azzardata e felice importazione della tragedia di Medeanel rozzo mondo dei ricercatori d’oro in un far west americano ormai impoverito. Il risultato è un libro magnifico». Simonetta Agnello Hornby
«Dove Nietzsche vive, lì pensa. Quando vive, poichè la sua è una vita priva di azione, lì scrive». É la mattina del 3 gennaio 1889, un giovedì freddo. Friedrich Nietzsche esce di casa in piazza Carlo Alberto a Torino. Ha 45 anni. Da dieci ha lasciato l’insegnamento a Basilea. È ormai un fugitivus errans, un filosofo errabondo e apolide. Lo slargo è affollato di ronzini e carrozze: d’un colpo lui lo traversa di corsa, poi si stringe al collo di un cavallo mogio malmenato da un vetturino, infine si accascia al suolo in lacrime. La follia gli ha sbriciolato la mente. Si spegne a Weimar, in Turingia, undici anni dopo, a mezzogiorno del 25 agosto 1900. Demente. Senza mai avere ripreso coscienza. Ma prima? Quella di Nietzsche è stata, assieme forse al cervello eversivo di Marx, la mente più pericolosa dell’Ottocento. Nato da un padre pastore a Röcken, nella profonda e letargica Sassonia luterana e bigotta, Fritz, come lo chiamano in famiglia, è venuto al mondo con un parto prematuro di almeno un secolo: è un precursore, il termometro di una crisi febbrile che surriscalda un cambio d’epoca, il piccone speculativo maneggiato controcorrente che sgretola millenni di cristianità e scardina la logica socratica. Da Naumburg fino alle geometrie militaresche di Torino, passando per l’incanto alpino di Sils Maria, che gli propizierà l’incontro con Zarathustra, e per «l’azzurra solitudine» del Sud dell’Italia, che gli donerà anni fertili di pensiero, Nietzsche sarà sempre morbosamente tormentato dalla malattia. E, tuttavia, educherà se stesso e quindi tutti gli uomini alla grandezza, alla libertà di spirito, alla esaltazione della vita («Costruite le vostre città sul Vesuvio!») come antidoto alla tragedia dell’esistere. Con un drammatico montaggio a flashback diviso in tre parti (tutta la Germania di Nietzsche, tutta la Svizzera di Nietzsche, tutta la sua brama di meridione con la scoperta dell’Italia e della Costa Azzurra) Paolo Pagani compone un romanzo d’avventura, non una semplice biografia, inseguendo ogni stagione intellettuale del più dinamitardo dei pensatori, il distruttore di mondi, lì dove il suo genio si forma in virtù di una geografia. Hanno scritto de I luoghi del pensiero: «Da Leibniz a Newton, da Keynes a Martin Heidegger e Hannah Arendt, Pagani compie il suo affascinante, nostalgico giro di quell’Europa che dette luce al mondo anche se dilaniata da due guerre e inenarrabili massacri». - Corrado Augias, Il Venerdí di Repubblica «Un ottimo esempio di divulgazione filosofica, in perfetto equilibrio tra teorie, biografia, aneddotica». - Claudio Visentin, Il Sole 24Ore
The Austro-Hungarian Stormtroopers and the Italian Arditi of World War I were elite special forces charged with carrying out bold raids and daring attacks. These units were comprised of hand-picked soldiers that possessed above-average courage, physical prowess as well as specific combat skills. Many military historians have argued that the First World War was mainly a static conflict of positional attrition, but these shock troops were responsible for developing breakthrough tactics of both fire and movement that marked a significant change to the status quo. Both armies used special assault detachments to capture prisoners, conduct raids behind enemy lines and attack in depth in order to prepare the way for a broad infantry breakthrough. This account traces the development of Austrian and Italian assault troop tactics in the context of trench warfare waged in the mountainous front of the Alps and the rocky hills of the Carso plateau. It not only examines their innovative tactics but also their adoption of vastly improved new weapons such as light machine-guns, super-heavy artillery, flamethrowers, hand grenades, daggers, steel clubs and poison gas. This book offers a narrative of the organizational development of the shock and assault troops, of their military operations and their combat methods. The bulk of the chapters are devoted to a historical reconstruction of the assault detachments' combat missions between 1917-18 by utilizing previously unreleased archival sources such as Italian and Austrian war diaries, official manuals, divisional and High Command reports and the soldiers' own recollections of the war. Finally, it offers a comprehensive description of their uniforms, equipment, and weapons, along with a large number of illustrations, maps and period photographs rarely seen. This epic trial of military strength of these special stormtroops cannot be properly understood without visiting, and walking, the battlefields. The appendix thus offers the reader a series of walks to visits key high mountain fortifications in the Italian Dolomites, many of which have attained almost legendary status.
It is only recently that the use of the endoscope as the sole visualizing tool has been introduced in transsphenoidal pituitary surgery with its favorable related implications and minimal operative trauma. Of course, microscopic and endoscopic anatomy are basically the same, but the optical distorsion of endoscopic images is quite substantial compared to microscopic depictions. An endoscope lens produces images with maximal magnification at its center and severe contraction at its periphery. Nearer images are disproportionally enlarged and remote images are falsely miniaturized. This optical illusion may disorientate a surgeon who is not familiar with this peculiar condition at the skull base. This atlas acts as a guide through the endoscopic anatomy and gives detailed descriptions of the preoperative management and the surgical procedures.
A novel theoretical framework for an embodied, non-representational approach to language that extends and deepens enactive theory, bridging the gap between sensorimotor skills and language. Linguistic Bodies offers a fully embodied and fully social treatment of human language without positing mental representations. The authors present the first coherent, overarching theory that connects dynamical explanations of action and perception with language. Arguing from the assumption of a deep continuity between life and mind, they show that this continuity extends to language. Expanding and deepening enactive theory, they offer a constitutive account of language and the co-emergent phenomena of personhood, reflexivity, social normativity, and ideality. Language, they argue, is not something we add to a range of existing cognitive capacities but a new way of being embodied. Each of us is a linguistic body in a community of other linguistic bodies. The book describes three distinct yet entangled kinds of human embodiment, organic, sensorimotor, and intersubjective; it traces the emergence of linguistic sensitivities and introduces the novel concept of linguistic bodies; and it explores the implications of living as linguistic bodies in perpetual becoming, applying the concept of linguistic bodies to questions of language acquisition, parenting, autism, grammar, symbol, narrative, and gesture, and to such ethical concerns as microaggression, institutional speech, and pedagogy.
The first complete and detailed catalogue of Lavoisier’s collection of instruments preserved at the Musée des Arts et Métiers in Paris. The story of the collection is carefully reconstructed and its instruments (all illustrated) are described in detail.
Presented here for the first time in English is a remarkable screenplay about the apostle Paul by Pier Paolo Pasolini, legendary filmmaker, novelist, poet, and radical intellectual activist. Written between the appearance of his renowned film Teorema and the shocking, controversial Salò, or the 120 Days of Sodom, St Paul was deemed too risky for investors. At once a political intervention and cinematic breakthrough, the script forces a revolutionary transformation on the contemporary legacy of Paul. In Pasolini’s kaleidoscope, we encounter fascistic movements, resistance fighters, and faltering revolutions, each of which reflects on aspects of the Pauline teachings. From Jerusalem to Wall Street and Greenwich Village, from the rise of SS troops to the death of Martin Luther King, Jr, here—as Alain Badiou writes in the foreword—‘Paul’s text crosses all these circumstances intact, as if it had foreseen them all’. This is a key addition to the growing debate around St Paul and to the proliferation of literature centred on the current turn to religion in philosophy and critical theory, which embraces contemporary figures such as Alain Badiou, Slavoj Žižek and Giorgio Agamben.
In Publishing for the Popes, Paolo Sachet provides a detailed account of the attempts made by the Roman Curia to exploit printing in the mid-sixteenth century, after the Reformation but before the implementation of the ecclesiastical censorship.
This book uses the work of Bolognese physician and anatomist Gaspare Tagliacozzi to explore the social and cultural history of early modern surgery. It discusses how Italian and European surgeons' attitudes to health and beauty – and how patients' gender – shaped views on the public appearance of the human body. In 1597, Gaspare Tagliacozzi published a two-volume book on reconstructive surgery of the mutilated parts of the face. Studying Tagliacozzi’s surgery in context corrects widespread views about the birth of plastic surgery. Through a combination of cultural history, microhistory, historical epistemology, and gender history, this book describes the practice and practitioners considered to be at the periphery of the "Scientific Revolution." Historical themes covered include the writing of individual cases, hegemonic and subaltern forms of masculinity, concepts of the natural and the artificial, emotional communities and moral economies of pain, and the historical anthropology of the culture of beauty and the face and its disfigurements. The book is essential reading for upper-level students, postgraduates, and scholars working on the history of medicine and surgery, the history of the body, and gender and cultural history. It will also appeal to those interested in the history of beauty, urban studies and the Renaissance period more generally.
The Lynx and the Telescope challenges the traditional interpretation of a programmatic convergence between the visions of Galileo and Cesi’s Academy, while offering a new interpretation of the dynamics that led to the condemnation of Galileo in 1633.
Since childhood, Paolo Tullio has returned each year to his hometown of Gallinaro, to the labyrinthine nest of his relations and to the passionate people of his valley. North of Naples, South of Rome describes a hysterically chaotic wine competition, samples the Italian cantina, instructs on marketplace haggling, and investigates the charms and scams of Naples. It looks with disbelief at a tortuous bureaucracy, observes the role of the church in daily life, and explains how to win a local election and how to roast a pig. With fascinating detours on local buildings, history, folklore, and fashion, the reader tours a carousel of picnics, feasts, and fireworks, led by the delightful pen and ink drawings of Tullio's wife, renowned watercolorist Susan Morley. This warmhearted tour of a charming, intimate world is as enticing and original as A Year in Provence and Under the Tuscan Sun.
A fact-based treatise on the Eurozone crisis, with analysis of possible solutions The Incomplete Currency is the only technical — yet accessible — analysis of the current Eurozone crisis from a global perspective. The discussion begins by explaining how the Euro's architecture, the relationship between finance and the real economy, and the functioning of the Eurosystem in general are all at the root of the current crisis, and then explores possible solutions rooted in fact, not theory. All topics are analysed and illustrated, making extensive use of examples, tables, and graphics, and the ideas presented are supported by data sets and their statistical elaborations throughout the book. An extensive digital component includes numerical simulations of public debt dynamics for different Eurozone countries, evaluations of the sustainability of programmes like the Fiscal Compact, and stress tests on the ability of institutions like the ESM to cope with major liquidity crises, and the spreadsheets used to calculate data in the book is provided for readers to access for themselves. The survival of the European monetary union has been questioned due to the accumulation of structural imbalances and the negative effects of the global financial crisis. This book lays out the full extent of the problem, explains what caused it, and provides possible solutions backed by extensive data. Dig down to the root of the Eurozone crisis Learn why austerity doesn't fix anything Understand how the Euro has changed economies Consider possible strategies for recovery In a macroeconomic context where the monetary policy is the prerogative of the European Central Bank and fiscal policy, hopeless austerity works against the economic recovery of the Eurozone countries. A positive attitude is difficult, but necessary. The Incomplete Currency is an insightful, important resource that guides readers toward real solutions.
This title was first published in 2002: As the twenty-first century began, it was easy to assume that the reforms to the international financial system undertaken in the last half of the 1990s were adequate to the core tasks of ensuring stability, sustained growth and broadly shared benefits in the world economy. That comfortable consensus has now been shattered. This volume critically assesses fundamental issues including: -the elements and adequacy of recent G7-led efforts at international financial reform -current causes of and prospects for growth in the new global economy -the challenges of crisis prevention -private sector participation and IFI responsibilities -the world’s monetary supply and sovereignty in the face of market forces. These key topics are examined by leading economists and scholars of political economy from both academic and policy communities in G7 countries, making it an essential addition to the collections of all those concerned with the challenges facing the world economy in the coming years.
This atlas provides all the basic and advanced information required by surgeons in order to understand fully the skull base anatomy. It is organized according to anatomo-surgical pathways to the hidden areas of the skull base. These pathways are described in step-by-step fashion with the aid of a wealth of color images and illustrations. The emphasis is on endoscopic anatomy, but in order to provide a holistic perspective, informative three-dimensional reconstructions are presented alongside the endoscopic images and radiologic images are included when appropriate. In effect, windows are opened on the anatomy so that the reader is guided on a journey throughout the skull base region. This anatomically oriented atlas will serve as an ideal learning tool for novice surgeons and will also prove an invaluable reference for the more experienced surgeon
Now in paperback, a collection of the legendary filmmaker's short fiction and nonfiction from 1950 to 1966, in which we see the machinations of the creative mind in post-World War II Rome. In a portrait of the city at once poignant and intimate, we find artistic witness to the customs, dialect, squalor, and beauty of the ancient imperial capital that has succumbed to modern warfare, marginalization, and mass culture. The sketches portray the impoverished masses that Pasolini calls "the sub-proletariat," those who live under Third World conditions and for whom simple pleasures, such as a blue sweater in a storefront window, are completely out of reach. Pasolini's art develops throughout the works collected here, from his early lyricism to tragicomic outlines for screenplays, and finally to the maturation of his Neo-realism in eight chronicles on the shantytowns of Rome. The pieces in this collection were all published in Italian journals and newspapers, and then later edited by Walter Siti in the original Italian edition.
Regno delle Due Sicilie, anno 1855. In questo romanzo di storia alternativa, Ferdinando II invia un suo agente in Tunisia per ottenerne il protettorato dopo che l'Impero Ottomano si è dissolto a seguito della sconfitta nella guerra con la Russia. L'Italia è unita in una confederazione di stati che lottano con le potenze europee per il controllo del Mediterraneo.
Issues of language planning and minority nationalism or «micronationalism» are becoming increasingly important in a globalized world. Yet minority language planning in Italy and its relation to minority nationalism has so far attracted relatively limited academic attention, despite the particularly interesting changes that have taken place since Law 482 on the protection of minority languages was passed in 1999. This book presents the situation in Italy in three case studies and compares them with similar cases in Spain: Friulian (compared with Galician), Cimbrian (compared with Aranese) and Western Lombard (compared with Asturian). Analysis of these case studies is preceded by a clear and thorough introduction to terminology, legislation in the two countries, nationalism, the discipline of language planning and bilingual education, both in general terms and with specific reference to the Italian and Spanish cases. This first part introduces and defines the crucial distinction between minority and regional languages, between macro and micronationalism, both in their conservative and progressive strands, and between majority and minority language planning, among other things.
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.