In 1916 a young woman, Rahvaema, leaves the forest community where she grew up, and sets off for a century-long adventure whose struggles and sufferings she could never have imagined. She becomes a campaigner for her Surelik language and culture, and in doing this she expands her horizons and is paradoxically drawn away from the language she loves and wants to defend. The novel confronts the personal costs of political activism and questions our ability to mould our future rationally and morally, whilst also suggesting that we have no choice but to attempt just that. A fortuitous coincidence of events allows her to establish an autonomous republic for her people, the Surelikud, but power brings no only opportunities but also compromises and betrayals. She lives too long and thus she lives to see her achievements crumble. The novel has has many themes, but the way progress is used or abused in order to worsen the living conditions of humanity is the primary one. Rahvaema is the first-person narrator but her ideas about progress are not necessarily the author's, but would be understandable in someone coming from her background.

"A vital guide ... It is difficult to imagine anyone seriously interested in Dante who will not want to own this book" AN Wilson, The Times Since Dante Alighieri wrote the Divine Comedy it has defined how people imagine and depict not only heaven and hell, but romantic love and the human condition. However, while Dante's works are widely celebrated outside Italy, the circumstances of his extraordinary life are less well known. Born in 1265, Dante's adolescence was characterised by literary genius, but his political activism in one of the medieval world's wealthiest cities led to his death in exile. Pre-eminent Dante scholar Alessandro Barbero and celebrated translator Allan Cameron bring the poet vividly to life. Animating the political intrigue, violence, civil war, exile and cities that shaped Dante's poetic and political life, this is a remarkable portrait of one of the creators of European literature and a towering medieval figure in time for the 700th anniversary of his death.

The narrator is an urbane, cynical and egocentric Italian journalist with little interest in the truth, though not as shabby as his companion, a professor of politics. The journalist meets people across the spectrum of ideas, and the book concerns not just political events, but how people interrelate within a social context, Scotland's place in Europe and how Europeans interpret each other. The Italian encounters a range of Europeans: a Ukrainian nationalist, a Russian religious guru, an eccentric Estonian, an Algerian refugee, a Lithuanian, a dying man and many Scots from different walks of life. The narrator falls in love with a Scottish campaigner. Beneath the urbane veneer, he's a complex mix of the old-fashioned and the fashionable, and the relationship soon encounters problems. The Italian, like Voltaire's Candide, starts with a mindset incapable of bringing him either understanding or lasting contentment, and ends the book with some understanding and awareness, insufficient for the elusive happiness we all seek but sufficient for a perfectly acceptable human existence.

"A barrel not of laughs but of contortions, confusions and the occasional dry chortle - and of metre adorned with irregular, sometimes internal rhymes, assonances, alliterations, awkwardnesses and other such trickery unfashionable to the current academic ear, and not a murmur of the poet's inner angst, failed loves or fortitude." This second collection Cameron's poetry contains a wide variety of subjects, not all of which are commonly associated with poetry: a weak man is interviewed by angelsand devils, an Afghan mystic tell us why he became on e, a riposte to Scott's "Breathes there a man with soul so dead", taking the side of the man with a dead soul, the English language, a lesson on Italian viticulture, and another on Italian anatomy amongst others.

This is a collection of eleven short stories whose common theme is the heroism of our flawed lives. It explores the arduousness of people's lives and covers such diverse subjects as human solidarity, generational change, single parenthood, domestic violence, the tragic complexity of revolution, police brutality, artistic hubris, and the limitations of rationalism. In "The Hat", a polish Jew on the run in Eastern Europe goes down to a town in search for food and, noticing the large number of German soldiers on patrol, hides himself in a funeral procession. But he stands out as the only mourner without a hat. As he walks along, another man places his hat on the fugitive's head: an example of man's humanity to man. In "Living with the Polish Count", the young Soviet Republic struggles to keep foreign and reactionary forces at bay and in so doing loses the morality that initially inspired them. In "The Selfish Geneticist", lunch in a smart restaurant exposes the rift between two academics, both dogmatic and contemptuous of others, but one more strictly rational and the other more influenced by his human emotions.

"My sight if fades and fading faded forms reveals; ageing looks beyond its age to shrivelled centuries beyond decades." The presbyopic poet cannot focus on "the self as subject", but only on what is distant. This collection of poetry attempts to detach the writer from the obsessions that have dominated poetry for so long: sentiment, love, feelings and the autobiographical in general. To completely dispose of these would be dogmatic, and Cameron argues that some of the greatest poets are both presbyopic and myopic. "And yet he fell apart, and headstrong held to that one truth, while falling and parting for his way, his lonely way of wanting justice for the damned." This poetry is unfashionably but unashamedly political and philosophical. Cameron continues to express in another form the contempt he feels for utilitarianism in general, and in particular its crude and extreme variety, as peddled by neo-conservative politicians and their intellectual bag-carriers. At the same time, he attempts to invent new poetic forms. Inspired by some Italian poets (especially Eugenio Montale), he uses metre and some rhyme, but then breaks it up by introducting enjambement and internal rhymes as well. There are English influences too: most surprisingly Rudyard Kipling's "Mary Gloster" in part inspired "Zarathustra's Last Interview", the longest narrative poem in this collection. "We thank thee Lord for having made us free to rule the world and liberate its inner need to be so much more like us." This poetry is unashamedly anti-imperialist. "That war with wings of death does twist and crush and kill the flimsy leathered bag of flesh and bone and liquid life that spills upon the sands, requires no second telling." This poetry is unashamedly anti-war. "Only this empty moment which I spectate is in my clasp; amongst this fractured stillness, something knowable comes close and just eludes the closing fingers of my mind's grasp" This poetry is for those who have more doubts than certainties.

With one exception, these short stories were written for this collection, and they tentatively look at different themes such as compassion, passivity and their opposites, which are not, of course, original themes, as none exist. The stories are told in different keys, and some characters appear in more than one story. The subject matter also shifts from the social to the political, and the tone becomes increasingly pessimistic. An Algerian immigrant worker in Italy invents a novel way to redistribute wealth, a female academic finds the path to success to be less difficult than she expected, a high-flyer in the financial markets perceives the glories of a selfish existence, a dying writer considers how he abandoned relationships to follow his art, a dead man rejects the tediousness of heaven, a thug is haunted by his selfish instincts, an essayist pronounces and an authors kills off his character. The plot in one short story distinguishes it from all the others: A Dream of JusticeA" is the scenario for a one-state solution in Israel-Palestine, and examines how this might play out. This, it is suggested, is not just a least worstA" solution; it is also the only one in which people can go through the process of rediscovering their common humanity, albeit a process that is long and generational. The Middle East also appears in the form of guest workers and the Secret WarA" in Oman. Cameron attempts in some of these stories to question the current conformist role of the writer and intellectual in Western society. Certainly since the Enlightenment and, more particularly in England since the Civil War more correctly called a revolution, the writer has been a dissident in society.

Allan Cameron's intriguing novel is set in a near future where the predictions of the US theorist Francis Fukuyama have been taken to their logical conclusions. Fukuyama declared that, with the collapse of the USSR and the hegemony of neoliberal capitalism, history has come to an end. In Cameron's book, history has indeed been halted by decree and the citizens live in a permanent present of spurious consumer choice and endless material consumption, their bovine lives ruled by the embedding of Rational Consumer Implant Cards in their brains. A cardless underclass exists in the Fukuyama Theme Parks, vast squalid concentration camps on the outskirts of cities. At the pinnacle of this society sit those lucky individuals who, because of their dedicated pursuit of stupendous wealth, are awarded the Plutocratic Social Gratitude Award, popularly nicknamed the Berlusconi Bonus as it effectively puts the recipient beyond the law. The book takes the form of a confession by Adolphus Hibbert, a recent beneficiary of the Berlusconi Bonus, who is recruited by the sinister secret police officer Captain Younce to spy on dissident elements. Adolphus embarks on a dizzying journey among the clandestine opposition, in which he finds love, betrayal and violence; discovering terrifying truths about himself and his society.A" - New Internationalist

Corrado Alvaro's Fear in the World was published a decade before Orwell's 1984, but is not well known outside Italy, perhaps because of the timing of the publication just before the Second World War. Alvaro had visited the Soviet Union as a journalist, but was probably motivated to write this dystopian novel by aspects of modernity that concerned him, particularly the use of fear for political purposes, not only in the Russia. He is interested in the psychology of fear and the extent to which individuals and the crowd participate in their own regimentation. The names of countries, cities and leading political figures such as Stalin are never referred to, but as in the works of Orwell, they are clearly there from the descriptions: the author was writing in a Fascist country against a Fascist censor and had to cut his cloth accordingly. This is a dark novel, not quite as dark as 1984, but it is more claustrophobic. The feel of inevitability is there from the first page, and it is experienced as we do in real life. The imagined takes us closer to where we really are. There is a love affair at the core of this novel, which is the cause of their problems, or quite possibly perceived by the lovers as the cause and therefore became the cause. The modern Leviathan appears to be a well-oiled machine, but towards the end it becomes clear that this is merely an appearance of efficiency and omniscience, but appearances can be powerful. Alvaro is particularly interested in how the state uses quasi-religious mechanisms and rituals to assert its power. The central character returns to the country after a long period abroad, and see things initially through foreign eyes, living a life similar to the one Alvaro did when in Russia. He is not a natural rebel, and very much wants to fit in, but it seems difficult to achieve. The regime boasts that it has an ally in history, but destiny is elusive, however much the characters feel that they are driven by it.

This historical and scientific study of psychoanalysis and its founding group brings together Luciano Mecacci's own work and existing material, and presents the reading public with a story that is not only fascinating and terrible but also essential and thought-provoking, given the enormous influence of Freud's ideas on European art, writing and wider culture throughout most of the twentieth century. It is important to distinguish between Freud the scientist and Freud the creative thinker. The former often lacked rigor and allowed his ideas to run audaciously ahead of the evidence he had collected. The latter, on the other hand, was brilliant, innovative and prolific, but the material produced was untested, as Mecacci demonstrates convincingly, and therefore unsuitable for clinical application. Freud's psychoanalytical therapy established a movement and set in train a series of often tragic events, which were almost always ignored at the time of their occurrence. Mecacci argues that there was nothing casual about these, and their roots are to be found in the manner in which the psychoanalytical movement was born and the historical context - dark times of war, economic crisis and xenophobia.

The narrator is an urbane, cynical and egocentric Italian journalist with little interest in the truth, though not as shabby as his companion, a professor of politics. The journalist meets people across the spectrum of ideas, and the book concerns not just political events, but how people interrelate within a social context, Scotland's place in Europe and how Europeans interpret each other. The Italian encounters a range of Europeans: a Ukrainian nationalist, a Russian religious guru, an eccentric Estonian, an Algerian refugee, a Lithuanian, a dying man and many Scots from different walks of life. The narrator falls in love with a Scottish campaigner. Beneath the urbane veneer, he's a complex mix of the old-fashioned and the fashionable, and the relationship soon encounters problems. The Italian, like Voltaire's Candide, starts with a mindset incapable of bringing him either understanding or lasting contentment, and ends the book with some understanding and awareness, insufficient for the elusive happiness we all seek but sufficient for a perfectly acceptable human existence.

Horror cinema grants bodies and images a precarious hold on sense and order: from the zombie's gory disintegration to the shaky visuals of 'found footage' horror, and from the vampire's absent reflection to the spectacle of shattering glass in the Italian giallo. Addressing classic horror movies alongside popular and innovative contemporary works, Visceral Screens investigates how they have rendered the human form as a media artefact, dramatically dis-figuring it with optical effects, chromatic shifts, glitches and audiovisual fragmentation. Conducting their own anatomies of the screen, cutting into the matter of cinema, horror films revel in the breakdown of frames, patterns and figures, undermining subjectivity and meaning.

Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice. Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such. Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.

This first and only work of non-fiction by the author of two novels, two collections of short stories and a collection of poetry, has an accessible and conversational tone, which perhaps disguises its enormous ambition. It not only deals with the origins of language to argue its centrality to humanity and the naturalness of bilingualism and multilingualism, but examines how writing and printing built on that centrality to develop the "social mind" - the sum of knowledge within any given society. More recent technological changes have undermined the importance of language in society, and could possibly damage psychological health and society at large. All the arguments are couched in a sceptical approach, and the author principally wants to initiate a debate rather than give a defining analysis of a complex subject. Each chapter is introduced by a short story that illustrates the argument of that chapter.

A fantastic evocation of life and learning in a dream sequence: Jerome, who has to sit an exam and suffers from toothache, enters a nighmarish library in which everything conspires to frustrate his desperate attempts to revise. Cavazzoni creates an entire world in this dream, whose absurd perhaps comments on the more muted absurdity of reality. The library contains geological and natural realities that plague the organic matter of which the books are made, demonstrating or at least suggesting the futility of human learning. In some parts of the building the books have turned into peat. Cavazzoni admits that his books pushe the novel to its very limits - "like outpourings of the maniacal," he says. "That's how they come to me, you must understand."

A work in three parts, Things Written starts with aphorisms in "How Not to Be a Ruminant", shifts to essays in "Weights and Counterweights", and concludes with poetry in "By the Metre". Some arguments appear in more than one section, and include nationalism, class, free will, religion, literature and the arts, but the theme of human relationships runs through the entire book, and is most closely examined with reference to the ideas of Martin Buber in a long essay entitled "Cats and Dogs, and Other Things We Cannot Understand". The back cover carries the following: "WARNING: This is a non-genre product and end-users may encounter forms and ideas to which they are allergic. Vagabond Voices Publishing Ltd, its board of directors, shareholders, parent company and/or subsidiaries advise end-users that they read this book entirely at their own risk."

Horror cinema grants bodies and images a precarious hold on sense and order: from the zombie's gory disintegration to the shaky visuals of 'found footage' horror, and from the vampire's absent reflection to the spectacle of shattering glass in the Italian giallo. Addressing classic horror movies alongside popular and innovative contemporary works, Visceral Screens investigates how they have rendered the human form as a media artefact, dramatically dis-figuring it with optical effects, chromatic shifts, glitches and audiovisual fragmentation. Conducting their own anatomies of the screen, cutting into the matter of cinema, horror films revel in the breakdown of frames, patterns and figures, undermining subjectivity and meaning.

Moving image culture seems to privilege the instantly identifiable: the recognizable face, the well-timed stunt, the perfectly synchronized line of dialogue. Yet perfect, in-focus visibility does not come 'naturally' to the moving image, and if there is one visual effect the eye of the camera can record better than the human eye it is blur. Looking beyond popular media to works of experimental cinema and video art, this groundbreaking collection addresses the aesthetics and politics of moving images in states of decay, distortion, indistinctness and fragmentation. A range of international scholars examines what is at stake in these images' sometimes radical foregrounding of materiality and mediation, or of evanescence and spectrality, as well as their challenging of the dominant position accorded to 'legible' images. How have artists and filmmakers rendered the 'indefinite' image, and what questions does it pose? With a range of approaches, from aesthetics to phenomenology to production studies, the authors in this volume investigate techniques, themes and concepts that emerge from this wilful excavation of the moving image's material base.

What adventure novelist could have invented the life of Giuseppe Garibaldi? The revolutionary, soldier, politician, and greatest figure in the fight for Italian unification, Garibaldi (1807-1882) brought off almost as many dramatic exploits in the Americas as he did in Europe, becoming an international freedom fighter, earning the title of the "hero of two worlds," and making himself perhaps the most famous and beloved man of his century. Alfonso Scirocco's "Garibaldi" is the most up-to-date, authoritative, comprehensive, and convincing biography of Garibaldi yet written. In vivid narrative style and unprecedented detail, and drawing on many new sources that shed fresh light on important events, Scirocco tells the full story of Garibaldi's fascinating public and private life, separating its myth-like reality from the outright myths that have surrounded Garibaldi since his own day.

Scirocco tells how Garibaldi devoted his energies to the liberation of Italians and other oppressed peoples. Sentenced to death for his role in an abortive Genoese insurrection in 1834, Garibaldi fled to South America, where he joined two successive fights for independence--Rio Grande do Sul's against Brazil and Uruguay's against Argentina. He returned to Italy in 1848 to again fight for Italian independence, leading seven more campaigns, including the spectacular capture of Sicily. During the American Civil War, Abraham Lincoln even offered to make him a general in the Union army.

Presenting Garibaldi as a complex and even contradictory figure, Scirocco shows us the pacifist who spent much of his life fighting; the nationalist who advocated European unification; the republican who served a king; and the man who, although compared by contemporaries to Aeneas and Odysseus, refused honors and wealth and spent his last years as a farmer.

Moving image culture seems to privilege the instantly identifiable: the recognisable face, the well-timed stunt, the perfectly synchronised line of dialogue. Yet perfect, in-focus visibility does not come naturally to the moving image. Pursuing a range of approaches (from aesthetics to phenomenology to production studies), the authors in this volume actively explore moving images in states of decay, distortion, indistinctness and fragmentation, while drawing upon key theoretical themes including affect, embodiment, visual signification and'legibility'.

The most important study of Charlemagne in a generation, this biography by distinguished medievalist Alessandro Barbero illuminates both the man and the world in which he lived. Charles the Great--Charlemagne--reigned from a.d. 768 to a.d. 814. At the time if his death, his empire stretched across Europe to include Bavaria, Saxony, parts of Spain, and Italy. With a remarkable grasp of detail and a sweeping knowledge of Carolingian institutions and economy, Barbero not only brings Charlemagne to life with accounts of his physical appearance, tastes and habits, family life, and ideas and actions but also conveys what it meant to be king of the Franks and, later, emperor. He recounts how Charlemagne ruled his empire, kept justice, and waged wars. He vividly describes the nature of everyday life at that time, how the economy functioned, and how Christians perceived their religion. Barbero's absorbing analysis of how concepts of slavery and freedom were subtly altered as feudal relations began to grow underscores the dramatic changes that the emperor's wars brought to the political landscape. Engaging and informed by deep scholarship, this latest account provides a new and richer context for considering one of history's most fascinating personalities.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Inheritance Of The Weak Awn In Certain Avena Crosses And Its Relation To Other Characters Of The Oat Grain; Volume 23 Of Memoir (Cornell University. Agricultural Experiment Station) Allan Cameron Fraser Cornell University, 1919 Science; Life Sciences; Genetics & Genomics; Heredity; Oats; Science / Life Sciences / Genetics & Genomics

This book by one of Italy's oldest and wisest intellectuals is a philosophical and personal meditation on ageing. The question of old age has preoccupied writers from Cicero to Amery, but in this volume Norberto Bobbio produces an account that is specific to our times. Born in 1909, Bobbio has lived through the major events of the past century, and his experiences of Fascism, Communism and the Cold War lend his reflections a melancholy that distinguishes them from earlier eulogies on old age and death. Bobbio's conclusions are often sobering, yet his investigation into memory and mortality is written with both humour and emotion.

In the opening chapter, Bobbio reassesses the notion of progress from the perspective of an old man. Arguing for an understanding of historical change as the transfer between generations, Bobbio explains how the elderly are increasingly marginalized in contemporary society. Referring to the traditional idea of old age as the 'age of wisdom', Bobbio argues that our ever-accelerating technological progress has dramatically shifted the power of knowledge from old to young. This discussion of old age as a social problem is accompanied by a reflection on old age as a personal predicament. In his elegant and lucid prose, Bobbio confronts the facts of decrepitude and death. In taking stock of his life, he argues once again for the importance of democracy and human rights.

This is a beautifully written book that will be of great interest to the academic and general reader alike. Its intellectual content renders it of particular value to students in the fields of philosophy, politics and the social sciences.

The most important study of Charlemagne in a generation, this biography by distinguished medievalist Alessandro Barbero illuminates both the man and the world in which he lived. Charles the Great-Charlemagne-reigned from a.d. 768 to a.d. 814. At the time if his death, his empire stretched across Europe to include Bavaria, Saxony, parts of Spain, and Italy. With a remarkable grasp of detail and a sweeping knowledge of Carolingian institutions and economy, Barbero not only brings Charlemagne to life with accounts of his physical appearance, tastes and habits, family life, and ideas and actions but also conveys what it meant to be king of the Franks and, later, emperor. He recounts how Charlemagne ruled his empire, kept justice, and waged wars. He vividly describes the nature of everyday life at that time, how the economy functioned, and how Christians perceived their religion. Barbero's absorbing analysis of how concepts of slavery and freedom were subtly altered as feudal relations began to grow underscores the dramatic changes that the emperor's wars brought to the political landscape. Engaging and informed by deep scholarship, this latest account provides a new and richer context for considering one of history's most fascinating personalities.