A man falls from the fourth floor. It is the only choice he has left to stop suffering. As he falls he announces his last wish, but then his body freezes a few centimetres above the ground. A thread of light descends from above him, he clings to it, and tries to escape from the dark well of depression that has swallowed him. Aldo Amedei is a successful journalist who has lost everything, even his dreams. The past is regret, the present is populated by monsters and ghosts, but he tries to follow that thread of light, that crazy desire that kept him alive, by running the New York marathon. He doesn’t even know why he thought of it; after all, he is a man who takes his car to drive a hundred metres. He starts running, like an escaped prisoner hunted by his nightmares. He falls, he gets up, he falls again and gets back on his feet. And each time it hurts more and more. But he doesn’t let go. For love, and with the love of Teresa, his young partner. Spitting out his soul along streets full of toil, angels and vultures, he comes back to life, to passion and to dreams. He’s helped by a doctor, a unexpected coach and a grandson even crazier than himself. He becomes another person, embedding people into his heart, along with laughter, surprises and new emotions. But his enemies don’t give up, they chase him, determined to bring him back into the black well of depression. There’s everything still to play for, as in the last challenge, between life and death: the 42 kilometres and 195 metres of the New York marathon. Against the wind and against everything. From Hell to Central Park.
Luigi Moretti: Lessons of SPAZIO focuses on the theoretical work of the Italian architect Luigi Moretti (Rome, 1906–1973). It does so selectively, focusing on the editorials he published between 1950 and 1953 as editor-in-chief of the magazine SPAZIO, as well as a further essay on parametric architecture, published in 1971–1972, in the first issue of the magazine MOEBIUS, directed by his friend Giulio Roisecco. This book rediscovers Moretti's personal impact on international architectural theory through thoughtful comments that shed light on the architect's modernity and original approach. Although Moretti is an architect renowned for his projects and buildings, his theoretical essays are less well-known. The aim of this book is therefore to explore Moretti's theoretical work, which covers many topics, including pictorial art, sculpture, architecture, urban planning, music, cinema, poetry, mathematics, computer science, parametricity. In addition to the translation from Italian to English, the book contains reproductions of the original articles, accompanied by a series of essays of critical commentary and updated interpretations that show new ways of approaching, reading, and understanding the foundations of current architectural theory and its progress over the last 50 years. This book approaches Moretti's thought from a new perspective, with the aim of reconsidering the originality of this brilliant and visionary architect who was intellectually ostracised for many years due to political and ideological contingencies, even though he personified the ideal of the 'Renaissance man' in modern times. A re-reading of Moretti's work is more justified today than has ever been before, both to reconnect the threads with contemporaneity and to make his intensity and farsightedness of vision known to researchers, teachers, and students working in the areas of architecture and design theory, technology, and art today.
Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.
The history of European integration did not begin in the aftermath of the 20th century AD: only the epilogue of a very long political, religious and socio-cultural formation process that started with the great adventure of Alexander the Great and his impromptu universal empire. In the centuries that followed, Europe became a land of immigration of peoples of Asian origin and Indo-European matrix, who found themselves on a continent that had emerged from the ice and occupied their own 'living space'. People still essentially present today who recognise themselves in Europe as an entity that retains its own characteristic identity in political, religious and historical-cultural terms. This book tells the story of the forces and ideas that enabled different 'gentes' to integrate and live together through facts, characters, thoughts, faiths, royal dynasties and power struggles. The text is conceived with a plural thematic structure that aims to reflect the various European 'souls' and offer each specific interpretation. The Introduction sets out principles, concepts, questions, but also the philosophical/cultural paths along which the overall European culture was formed, even if not entirely homogeneous and for long periods dramatically conflicting, highlighting the turning milestones of the common continental thought thanks to an oriental and classical philosophical discourse. Part One, on the other hand, recounts the history of European events, personalities and evolutionary lines, with a Greek historical approach, relating them to the action and function of the Empire (especially the Christian one), which over the centuries 'attracted' the various peoples settled in Europe and trained them in a model of civilisation and socio-political organisation still visible today in every corner of the continent: the formation of the European states and nations now included in the EU is thus the product of the 'budding' of the Empire over two thousand years. Part Two examines the evolution of European legal and political thought using the method of Roman jurist treatises, following the development of the function of auctoritas, from its first configuration in the ancient Res Publica of Rome through the medieval, renaissance and modern eras to demonstrate the continuity of its conceptual reworking in every political and legal form of power established at every latitude of Europe, up to the so-called 'modern states' of today's democratic and constitutional republics. Part Three is a synthesis of the history of Christianity, from the events of the first 'communities' formed in the imperial age and then spread to the whole of Europe thanks to the evangelical action of the missionary monks and the policy of Christianization of the peoples of Europe conducted by the Empire and the institutional Church, under the sign of the biblical eschatological vision of 'salvation for all believers in Christ' which has an evident Jewish matrix and draws strength from the unique figure in human history of Jesus of Nazareth. The story also deals with the events that have marked the history of the Christian Church in every era, from the original conceptual controversies to imperial dogmatism, from the confrontation between the different 'churches' that arose in Europe in the Middle Ages to the struggles between Papacy and Empire, up to the Protest and Reformation that shaped the state of Christian religiosity today. Part Four is a cryptic narrative that seeks to 'unveil' (and thus end the evolutionary process underway) European history by its cultural roots, its founding myths and the journey of the 'European people', inspired by a Celtic metaphysical approach: only by delving into the various 'mysteries' collected in Eastern Greek cosmogony, in ancient Greco-Roman mythology, in the biblical letter and again in the most famous medieval legends narrated by the Chanson de geste, can one Translator: Alessandra Cervetti PUBLISHER: TEKTIME
In 1970s Italy, after the decline of the Spaghetti Western, crime films became the most popular, profitable and controversial genre. In a country plagued with violence, political tensions and armed struggle, these films managed to capture the anxiety and anger of the times in their tales of tough cops, ruthless criminals and urban paranoia. Recent years have seen renewed critical interest in the genre, thanks in part to such illustrious fans as Quentin Tarantino. This book examines all of the 220+ crime films produced in Italy between 1968 and 1980, the period when the genre first appeared and grew to its peak. Entries include a complete cast and crew list, home video releases, a plot summary and the author's own analysis. Excerpts from a variety of sources are included: academic texts, contemporary reviews, and interviews with filmmakers, scriptwriters and actors. There are many onset stills and film posters.
When she was about nine years old, Josephine Bakhita was kidnapped near Darfur, Sudan, by Arab slave traders. For several years she was subjected to brutal and humiliating treatment until she was ransomed and taken to Venice, Italy, where she became a Catholic and a nun. Joyfully and serenely Bakhita served in a convent, school and infirmary run by Canossian sisters in a small, obscure town in northern Italy until her death in 1947. Then something even more remarkable than her redemption happened. Hundreds of ordinary people came to see Bakhita lying in state, and along with these visits came stories about how the simple nun had given comfort, advice and encouragement as she went about her tasks as cook, doorkeeper, nurse, etc. Almost immediately graces and miracles attributed to Bakhita's intercession began to be reported. Ever since, the place where Bakhita died and the wonders began has been a shrine visited by people from all over the world. They come to seek the intercession of one who was no stranger to loss and suffering and yet had given herself with complete confidence to the Lord. It is here, in this sparsely furnished room, where Italian journalist Roberto Italo Zanini begins his story of Bakhita and her journey from slavery to sainthood. Based on Bakhita's autobiography, which she dictated to a Canossian sister in obedience to her superior, the canonization files and many other sources, Zanini records the life, virtues and miracles of this daughter of Africa who has become a sister to the whole world.
In an eclectic career spanning four decades, Italian director Riccardo Freda (1909-1999) produced films of remarkable technical skill and powerful visual style, including the swashbuckler Black Eagle (1946), an adaptation of Les Miserables (1947), the peplum Theodora, Slave Empress (1954) and a number of cult-favorite Gothic and horror films such as I Vampiri (1957), The Horrible Dr. Hichcock (1962) and The Ghost (1963). Freda was first championed in the 1960s by French critics who labeled him "the European Raoul Walsh," and enjoyed growing critical esteem over the years. This book covers his life and career for the first time in English, with detailed analyses of his films and exclusive interviews with his collaborators and family.
In this fascinating book, the author traces the careers, ideas, discoveries, and inventions of two renowned scientists, Athanasius Kircher and Galileo Galilei, one a Jesuit, the other a sincere man of faith whose relations with the Jesuits deteriorated badly. The Author documents Kircher’s often intuitive work in many areas, including translating the hieroglyphs, developing sundials, and inventing the magic lantern, and explains how Kircher was a forerunner of Darwin in suggesting that animal species evolve. Galileo’s work on scales, telescopes, and sun spots is mapped and discussed, and care is taken to place his discoveries within their cultural environment. While Galileo is without doubt the “winner” in the comparison with Kircher, the latter achieved extraordinary insights by unconventional means. For all Galileo’s fine work, the author believes that scientists do need to regain the power of dreaming, vindicating Kirchner’s view.
Marco Ferreri (1928-1997) was one of Italian cinema's boldest auteurs. A maverick personality, he worked with some of the most popular actors of the time (Marcello Mastroianni, Michel Piccoli, Catherine Deneuve, Gerard Depardieu, Ugo Tognazzi, Carroll Baker, Roberto Benigni, Isabelle Huppert, Christopher Lambert and others), and directed internationally acclaimed films. His filmography includes The Conjugal Bed (1963), The Ape Woman (1964), Dillinger Is Dead (1969), the scandalous La Grande Bouffe (1973), the absurdist western Don't Touch the White Woman! (1974), The Last Woman (1976), Bye Bye Monkey (1978) and the Charles Bukowski adaptation Tales of Ordinary Madness (1981). Ferreri's cinema dealt in highly original ways with contemporary issues: the crisis of marriage, relationships between sexes, consumerism, and political disillusionment. His films were controversial and confronted censorship issues, leading to Ferreri's fame as a master provocateur. This book examines Marco Ferreri's life and career, placing his work within the social and political context of postwar Italian culture, politics, and cinema. It includes a detailed production history and critical analysis of his films, with never-before-seen bits of information recovered from Italian ministerial archives and in-depth discussion of the director's unfilmed projects.
Quarantasei racconti brevi ispirati alle figure femminili più trascurate nella letteratura per riabilitare il ruolo dell'amore passionale e renderlo vincente sugli -ismi che hanno tormentato gli ultimi due secoli.
The "Gothic" style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The Horrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.
Un giallo surreale in cui un sudario di libri cela il corpo della musa della cui immagine metaforica gli intellettuali del suo salotto letterario cercano di appropriarsi, ma il commissario Gegé Esposito e le portiera dello stabile porteranno la vicenda a ben diverse conclusioni.
Un percorso da Galilei a Leibniz inseguendo il "solido di eguale resistenza". La ricerca del significato della forma strutturale agli albori della scienza delle costruzioni.
Una poetica che nasce da un lungo viaggio nei luoghi dell'anima, nei paradisi e nelle distese infernali che un opprimente quotidiano ci costringe ad affrontare. Nessuno tocchi Caino è un grido di dolore, avvolto da uno spesso manto di solitudine, che riesce comunque ad aprirsi alla speranza; una poesia semplice e d'effetto, la cronaca puntuale di tutti quei pensieri che affollano la nostra mente, a volte inconfessabili, spesso abilmente celati dall'estremo bisogno di dover indossare necessariamente una maschera per sopravvivere.
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