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Una donna che parla alle donne...ma non soloPia Rimini e scrittrice intensa, carnale, originale e sperimentale nella forma. Tratta di argomenti delicati e difficili per i suoi tempi, ma verrebbe da dire in ogni tempo. E lo fa con uno stile che la rende una scrittrice da conoscere, leggere, amare.Parla di unumanita sporca e squallida, le figure maschili sono violente e volgari. Descrive un erotismo sanguigno, concreto e contemporaneamente appare ripugnante. La scrittura che accenna costantemente allerotico per poi ritrarsene quasi con disgusto lo troviamo in diversi racconti, ma troviamo anche tutta la contraddizione del sentire femminile di fronte allarroganza maschile.Pia Rimini e una donna che parla di donne, che puo dire sulla psicologia femminile, sulla passione, sullo spirito e sulla carne parole nuove, che puo scoprire punti di vista originali, panorami chiusi. Pia Rimini e prima di tutto donna, e cio costituisce il suo merito, la sua giustificazione. E i racconti che troviamo in questo testo restano ancora quelli che meglio rappresentano i caratteri della sua personalita, portando Pia Rimini a conquistare un posto di prima linea nella letteratura femminile. Una scrittrice che conquistera anche i lettori contemporanei che scopriranno unautrice di sicuro talento e profondita psicologica.Lautrice: Pia Rimini, scrittrice triestina nata l8 gennaio del 1900, e oggetto di una grande riscoperta da parte dei lettori italiani ed europei. Vita tragica e breve, vissuta spesso controcorrente. Unautrice che tra gli anni Venti e Trenta del secolo scorso pubblica libri di novelle e romanzi che la segnalano allattenzione nazionale: il Corriere della Sera, il Giornale dItalia e il Popolo dItalia ne tessono le lodi, mentre la Stampa azzarda addirittura a scrivere di lei che piu del Soldati e del Moravia possiede qualita davvero promettenti. Figlia di genitori ebrei, la madre si era pero convertita al cattolicesimo e laveva battezzata. Nel 1944, a causa del suo cognome e di una soffiata, fu fatta salire su un treno per Auschwitz, viaggio da cui non fara piu ritorno.

SCINTILLE NELLA NOTTE rappresenta un canto di amore dellautrice per la sua terra mai dimenticata. La Storia e ambientata in un paesino della Calabria sottolineando le connotazioni antropologiche nei diversi aspetti, sociale, culturale, psicologico, familiare. Ed e sotto questultimo aspetto che la trama si svolge, in un processo introspettivo, toccando le corde dolorose di un vissuto di tre generazioni, con un accento importante sulla condizione della donna in un contesto rurale patriarcale. Sara Antonia leroina moderna della storia, a cogliere lesigenza di ribellarsi e contestare quel mondo, pur continuando ad amarlo. La narrazione diventa cosi un cammino che attraversando un periodo storico complesso, si proietta verso un futuro che invita alla speranza, in una prospettiva evolutiva sia nella sfera intimistica dei personaggi che abitano quel microcosmo e sia in una prospettiva piu ampia che investe lintero sociale fino ad evidenziare il volto umano della Questione Meridionale. Lo spirito anelante che si respira nel romanzo si concretizza nella consapevolezza che solo quando si sara usciti da una condizione di rassegnazione che e la negazione di ogni dignita umana, diventando signori del proprio destino si potra raggiungere la rinascita del Mezzogiorno e con essa la rinascita dellItalia tutta.

THEATREGen Pass is the only way to obtain parental authority. Even an esteemed couple with a good reputation will encounter considerable difficulties in obtaining the document, triggering a series of reflections on the effects of such a paradoxical government initiative

This collection brings together some of the most incredible sci-fi stories ever told in one convenient, high-quality, Kindle volume!This book now contains several HTML tables of contents that will make reading a real pleasure!The Sentimentalists, by Murray LeinsterThe Girls from Earth, by Frank RobinsonThe Death Traps of FX-31, by Sewell WrightSong in a minor key, by C.L. MooreSentry of the Sky, by Evelyn E. SmithMeeting of the Minds, by Robert SheckleyJunior, by Robert AbernathyDeath Wish, by Ned LangDead World, by Jack DouglasCost of Living, by Robert SheckleyAloys, by R.A. LaffertyWith These Hands, by C.M. KornbluthWhat is POSAT?, by Phyllis Sterling-SmithA Little Journey, by Ray BradburyHunt the Hunter, by Kris NevilleCitizen Jell, by Michael ShaaraOperation Distress, by Lester Del ReySyndrome Johnny, by Charles DyePsychotennis, anyone?, by Lloyd WilliamsPrime Difference, by Alan NourseDoorstep, by Keith LaumerThe Drug, by C.C. MacAppAn Elephant For the Prinkip, by L.J. StecherLicense to Steal, by Louis NewmanThe Last Letter, by Fritz LieberThe Stuff, by Henry SlesarThe Celestial Hammerlock, by Donald ColvinAlways A Qurono, by Jim HarmonJamieson, by Bill DoedeA Fall of Glass, by Stanley LeeShatter the Wall, by Sydney Van ScyocTransfer Point, by Anthony BoucherThy Name Is Woman, by Kenneth OHaraTwelve Times Zero, by Howard BrowneAll Day Wednesday, by Richard OlinBlind Spot, by Bascom JonesDouble Take, by Richard WilsonField Trip, by Gene HunterLarsons Luck, by Gerald VanceNavy Day, by Harry HarrisonOne Martian Afternoon, by Tom LeahyPlanet of Dreams, by James McKimmeyPrelude To Space, by Robert HaseltinePythias, by Frederik PohlShow Business, by Boyd EllanbySlaves of Mercury, by Nat SchachnerSound of Terror, by Don BerryThe Big Tomorrow, by Paul LohrmanThe Four-Faced Visitors ofEzekiel, by Arthur OrtonThe Happy Man, by Gerald PageThe Last Supper, by T.D. HammThe One and the Many, by Milton LesserThe Other Likeness, by James SchmitzThe Outbreak of Peace, by H.B. FyfeThe Skull, by Philip K. DickThe Smiler, by Albert HernhunterThe Unthinking Destroyer, by Roger PhillipsTwo Timer, by Frederic BrownVital Ingredient, by Charles De VetWeak on Square Roots, by Russell BurtonWith a Vengeance, by J.B. WoodleyZero Hour, by Alexander BladeThe Great Nebraska Sea, by Allan DanzigThe Valor of Cappen Varra, by Poul AndersonA Bad Day for Vermin, by Keith LaumerHall of Mirrors, by Frederic BrownCommon Denominator, by John MacDonaldDoctor, by Murray LeinsterThe Nothing Equation, by Tom GodwinThe Last Evolution, by John CampbellA Hitch in Space, by Fritz LeiberOn the Fourth Planet, by J.F. BoneFlight From Tomorrow, by H. Beam PiperCard Trick, by Walter BuppThe K-Factor, by Harry HarrisonThe Lani People, by J. F. BoneAdvanced Chemistry, by Jack HuekelsSodom and Gomorrah, Texas, by R. A. LaffertyKeep Out, by Frederic BrownAll Cats are Gray, by Andre NortonA Problem in Communication, by Miles J. BreuerThe Terrible Tentacles of L-472, by Sewell Peaslee WrightMarooned Under the Sea, by Paul ErnstThe Murder Machine, by Hugh B. CaveThe Attack from Space, by Captain S. P. MeekThe Knights of Ar...

Contains Active Table of Contents (HTML) and include a bonus link to the free audio book.The Book of Five Rings ( Go Rin no Sho) is a text on kenjutsu and the martial arts in general, written by the Japanese swordsman Miyamoto Musashi around 1645. There have been various translations made over the years, and it enjoys an audience considerably broader than only that of martial artists and people across East Asia: for instance, some foreign business leaders find its discussion of conflict and taking the advantage to be relevant to their work in a business context. The modern-day Hyh Niten Ichi-ry employs it as a manual of technique and philosophy.Musashi establishes a "no-nonsense" theme throughout the text. For instance, he repeatedly remarks that technical flourishes are excessive, and contrasts worrying about such things with the principle that all technique is simply a method of cutting down ones opponent. He also continually makes the point that the understandings expressed in the book are important for combat on any scale, whether a one-on-one duel or a massive battle. Descriptions of principles are often followed by admonitions to "investigate this thoroughly" through practice rather than trying to learn them by merely reading.Musashi describes and advocates a two-sword fencing style (nitjutsu): that is, wielding both katana and wakizashi, contrary to the more traditional method of wielding the katana two-handed. However, he only explicitly describes wielding two swords in a section on fighting against many adversaries. The stories of his many duels rarely refer to Musashi himself wielding two swords, although, since they are mostly oral traditions, their details may be inaccurate. Musashi states within the volume that one should train with a long sword in each hand, thereby training the body and improving ones ability to use two blades simultaneously(wikipedia)

In "The Treatment of Drapery in Art," George Woolliscroft Rhead presents a meticulous examination of the representation of fabric and drapery across various artistic mediums. With a keen eye for detail and an analytical approach, Rhead delves into the historical evolution and significance of drapery from classical antiquity through the Renaissance and beyond. His literary style combines scholarly rigor with accessible prose, making complex theories understandable for a broader audience. Rheads work is contextualized within the burgeoning interest of the late 19th-century art world in technique and realism, as well as the growing appreciation for the interplay of light and shadow on textiles in visual representation. George Woolliscroft Rhead was not only a prominent painter and illustrator but also an influential critic and educator in the field of decorative arts. His personal experiences as an artist, coupled with his academic background, provided him with a unique perspective on the practical challenges and aesthetic principles involved in rendering drapery in art. Rheads commitment to fostering artistic skills and knowledge within the burgeoning Arts and Crafts Movement reflects his dedication to enriching the appreciation of craftsmanship in art. This book is an essential resource for artists, art historians, and enthusiasts alike, urging readers to explore the intricate relationship between textiles and artistic expression. Rheads insightful analysis and vibrant illustrations illuminate the importance of drapery in enhancing the emotional and narrative depth of visual art, making it a valuable addition to the libraries of those interested in understanding the transformative power of fabric in artistic compositions.

Sir Joshua Reynolds"Discourses" is a seminal collection of lectures delivered by the acclaimed British painter, offering profound insights into the principles of art and the role of the artist in society. Written in a reflective and eloquent prose style, the Discourses blend personal anecdotes with artistic theory, illuminating Reynolds thoughts on the relationship between nature and artistic representation. Contextually, these lectures emerged during the 18th century, a pivotal era that embraced the Enlightenment ideals of reason and individual expression, positioning Reynolds as a key figure in shaping modern British art. Joshua Reynolds, a prominent portraitist and founding member of the Royal Academy, was influenced by a variety of artistic movements and thinkers, including Classical ideals and contemporary aesthetics. Born in 1723, his extensive travels and interactions with notable figures provided a rich tapestry of experience that informed his thoughts on artistic practice. Reynolds commitment to elevating the profession of painting through education and intellectual discourse underscores the significance of the "Discourses" in art history. This work is a must-read for art enthusiasts, aspiring artists, and scholars seeking to understand the theoretical foundations of Western art. ReynoldsAo blend of practical wisdom and philosophical musings serves as both an inspiration and a guide, making the "Discourses" not only a historical artifact but a timeless resource for cultivating an appreciation of art.

Este livro aborda a temática da pintura de interiores, seu objeto de estudo é a presença da cadeira de madeira vergada, tipo Thonet, um objeto doméstico inserido na obra O Importuno, de José Ferraz de Almeida Junior (1859-1899), como indice, uma contaminaço do espirito modernista, uma presença de modernidade na obra deste pintor brasileiro do seculo XIX. A problematica surge da pergunta: quais as relaçes possiveis de serem estabelecidas a partir da verificaço da presença de uma cadeira de madeira vergada ? que se torna icone da modernidade, na obra de um pintor academico? Portanto, o objetivo desta obra e examinar a cadeira de madeira vergada, como objeto da modernidade, como objeto domestico que esta contido na pintura de interior na obra O Importuno, buscando estabelecer relaçes que possam coloca-la como uma intrusa modernista na obra academica do pintor em estudo.

O livro é uma espécie de statement do artista Tec visto nas etapas de uma produção em constante andamento. Um dos expoentes da street art e do grafite na Argentina e no Brasil. "Tec 2010-2020" é um r

Theatre. Day in a training organisation

For much of the nineteenth century, women artists laboured under the same restrictions and taboos they had endured for centuries, and it was assumed that marriage and child-bearing were their goals in life. However, by the 1870s female art students of every nation were flocking to Paris in search of instruction in the citys private art schools. With proper training, they now had the confidence to tackle a wider range of subjects and by the centurys end they were at last able to study the nude figure. During these breakthrough years, women won the right to work and exhibit alongside men, both in Europe and America, and the advent of art galleries and art dealers opened up new ways of selling their work. This book is full of surprising adventures: young women, still not allowed to visit a museum unchaperoned, travelled thousands of miles in a quest for first-class tuition; several Americans, while still in their twenties, journeyed to Rome to study sculpture; numerous free and independent women joined the artists colonies that sprang up all over Europe, where they made lasting friendships, painting from dawn to dusk en plein air and enjoying the bohemian life. These trailblazing women rose to the challenges of the centurys dramatic development in art styles from Realism to the Avant-Garde and triumphantly succeeded in becoming successful professional artists.

Teatro Libero ed Amy arrivano nella cittadina dell’amica Gloria. E’ un paese in cui c’è un divieto bizzarro. E i due lo scopriranno ben presto a loro spese

Theatre.During their sons 18th birthday party, George and Lisa hand him an unusual envelope. "Tom opens the envelope and pulls out a sheet of paper. He begins to read with a smile. Then, looking at his father, his face takes on the features of wonder. George crosses his arms, as does his mother. The boys face bears an expression of horror. A trickle of sweat disfigures his face. Silence falls. Everyone leaves. Tom is left alone with his parents.At first it seems like a joke, then Tom realises that it is not. "What makes a child mature is the fact that his or her parents take him or her for granted".

"Como nascem as casas? Dos sonhos, do desejo e da necessidade de ter um lugar para morar, das mos dos trabalhadores, dos traços dos arquitetos, dos mutires e das ideias dos artistas."O que difere a casa em que vivemos das casas criadas pelos artistas? Quantos tipos de casas podem existir? As arte-educadoras Diana Tubenchlak e Renata SantAnna apresentam no livro Entre: a arte e sua, da Panda Books, um olhar investigativo e poetico para este espaço que passamos a ocupar em tempo integral. Obras de diversos artistas contemporaneos preenchem as paginas do livro, revelando as mais diferentes propostas. Cozinha com banheiro? Uma casa toda vermelha? Sofa na parede?Nesse passeio pelo livro-casa esto obras de Regina Silveira, Monica Nador, Romulllo Conceiço, German Lorca, Alfredo Volpi, entre outros artistas, que permitem no so mostrar uma nova perspectiva sobre o objeto casa, mas que possibilitaram a transformaço dos espaços. Conheça a shabono, casa dos indios yanomami que e incendiada para eliminar insetos, fotografada por Claudia Andujar; a casa-carro dos artistas colombianos Ninibe Forero e Leonardo Ruge que se refugiaram no Rio de Janeiro; e a casa toda vermelha de Cildo Meireles. Ao final do livro, na seço informativa, as autoras apresentam propostas de experiencias artisticas para serem vivenciadas pelos pequenos leitores em suas casas, transformando-as em uma casa-atelie.

Contains Active Table of Contents (HTML) and include a bonus link to the free audio book.The Book of Five Rings ( Go Rin no Sho) is a text on kenjutsu and the martial arts in general, written by the Japanese swordsman Miyamoto Musashi around 1645. There have been various translations made over the years, and it enjoys an audience considerably broader than only that of martial artists and people across East Asia: for instance, some foreign business leaders find its discussion of conflict and taking the advantage to be relevant to their work in a business context. The modern-day Hyh Niten Ichi-ry employs it as a manual of technique and philosophy.Musashi establishes a "no-nonsense" theme throughout the text. For instance, he repeatedly remarks that technical flourishes are excessive, and contrasts worrying about such things with the principle that all technique is simply a method of cutting down ones opponent. He also continually makes the point that the understandings expressed in the book are important for combat on any scale, whether a one-on-one duel or a massive battle. Descriptions of principles are often followed by admonitions to "investigate this thoroughly" through practice rather than trying to learn them by merely reading.Musashi describes and advocates a two-sword fencing style (nitjutsu): that is, wielding both katana and wakizashi, contrary to the more traditional method of wielding the katana two-handed. However, he only explicitly describes wielding two swords in a section on fighting against many adversaries. The stories of his many duels rarely refer to Musashi himself wielding two swords, although, since they are mostly oral traditions, their details may be inaccurate. Musashi states within the volume that one should train with a long sword in each hand, thereby training the body and improving ones ability to use two blades simultaneously(wikipedia)

TeatroMARTINO ma tu sei veramente in grado di sentire chella che tene dint chella povera creatura. Io nun o saccio e me ne so fujuto e aggio promesso che ci avrei parlato solo fino a quando nun avesse capito veramente chella che tene dinto o stomaco. Nun e forse chesta leducazione sentimentale che tu stevi parlando. Pero se quand e piedi vanno a fuoco, maggia sta zitto comme se fosse nu robot, nun capisco comm posso educarmi ai sentimenti. Perche ca a fantasia e limmaginazione nun ci riesco. Se non succede con lesperienza da vita e fottendome e chi teng attuorn, quando a adda succedere? Se non faccio male a nessun, pecche nun aggia piangere, allucca, ridere a crepapelle. Perche maggia trattenere chell che me nasce dint e viscere. Se nun iett fore, a gent come fa a capi chi song, quand soffro, chell che me fa incazza. O mare e uno solo, stamm ncomp a chesta barca tutti insieme. Nun capisco pecche ci comportamm comme se ognuno tenesse o mare suo. Hai parlato di educazione sentimentale. Io vulesse capi come ci vuoi riusci, senza sti premesse. Zia Olga doveva urlare e nun lha fatto. E se lavess fatto, tu che ci dicev, che non lo doveva fare. E punto e da capo. Hai ddetto bene primma. Lei nun tha dato o materiale. E tu a noi lhai dato? Noi nun ti abbiam mai sentit che alluccavi. E chist o problema. Tu mamma a noi lhai dato?

O material se baseia em textos teóricos do volume 1 e em exercícios e aplicações práticas do volume 2, além de considerar o uso de modernas metodologias de ensino. O programa cobre desde as primeiras

Teatro. Un attore e un finance manager che non si conoscono prendono lascensore e finiscono in un seminterrato. Premono per risalire ma lascensore non va.Tentano di salire le scale ma la porta della scalinata e bloccata. Una coppia si avvicina e li invita a bere un caffe. Dicono di essere dei pensionati, che si divertono ad interrogare le persone che arrivano li e indagano se quello che fanno rispecchia veramente il loro essere. E se alla fine il loro giudizio e negativo......

Theatre. The fence in the Precordium. Three actsTheatre. The fence in the Precordium. Three acts

Theatre. Linda and Alfredo are two brothers. They pursue their mother, who is not very present because of her work, in different ways. The two evoke her, amid imaginations and rages, illusions and fu