10 products were found matching your search for 06 21 bad toelz chioggia i html in 5 shops:

Tested with the gsp21 unit that I just sold. All 12 pedals works when press. Blank display most of of the time, when it does comes on it will only ...

14-karat yellow gold Faceted Round-cut Prong-set Diamond = approximately 0.15 ct. tw.; color = H-I; clarity = SI3-I1 Amethyst gemstones = approximately 2.06 ct. tw. Pendant drops approximately 5/8in Approximately 16in long with 2in extender Spring ring clasp closure It is customary to treat most gemstones to achieve enhanced color and durability. Some of these treatments may not be permanent, and may require special care. Please note: In product titles ct. tw. refers to the total carat weight of all diamonds and/or gemstones combined.

14-karat yellow gold Faceted Round-cut Prong-set Diamond = approximately 0.15 ct. tw.; color = H-I; clarity = SI3-I1 Lemon Quartz gemstones = approximately 5.06 ct. tw. Pendant drops approximately 5/8in Approximately 16in long with 2in extender Spring ring clasp closure It is customary to treat most gemstones to achieve enhanced color and durability. Some of these treatments may not be permanent, and may require special care. Please note: In product titles ct. tw. refers to the total carat weight of all diamonds and/or gemstones combined.

About the brand: Fine jewelry with impeccable style - designed to be Everyday Extraordinary. 10-karat white gold Prong & Pave-set Diamond = approximately 0.06 ct. tw.; color = G-H; clarity = I2-I3 Aquamarine gemstones = approximately 2.15 ct. tw. Ring can be re-sized by any professional jeweler; however, if re-sized, it will not be accepted for return It is customary to treat most gemstones to achieve enhanced color and durability. Some of these treatments may not be permanent, and may require special care. Please note: In product titles ct. tw. refers to the total carat weight of all diamonds and/or gemstones combined.

About the brand: Fine jewelry with impeccable style - designed to be Everyday Extraordinary. 10-karat white gold Prong & Pave-set Diamond = approximately 0.06 ct. tw.; color = G-H; clarity = I2-I3 Aquamarine gemstones = approximately 2.15 ct. tw. Ring can be re-sized by any professional jeweler; however, if re-sized, it will not be accepted for return It is customary to treat most gemstones to achieve enhanced color and durability. Some of these treatments may not be permanent, and may require special care. Please note: In product titles ct. tw. refers to the total carat weight of all diamonds and/or gemstones combined.

About the brand: Fine jewelry with impeccable style - designed to be Everyday Extraordinary. 10-karat white gold Prong & Pave-set Diamond = approximately 0.06 ct. tw.; color = G-H; clarity = I2-I3 Aquamarine gemstones = approximately 2.15 ct. tw. Ring can be re-sized by any professional jeweler; however, if re-sized, it will not be accepted for return It is customary to treat most gemstones to achieve enhanced color and durability. Some of these treatments may not be permanent, and may require special care. Please note: In product titles ct. tw. refers to the total carat weight of all diamonds and/or gemstones combined.

"Because I am not silent," George Oppen wrote, "the poems are bad." What does it mean for the goodness of an art to depend upon its disappearance? In Being Numerous, Oren Izenberg offers a new way to understand the divisions that organize twentieth-century poetry. He argues that the most important conflict is not between styles or aesthetic politics, but between poets who seek to preserve or produce the incommensurable particularity of experience by making powerful objects, and poets whose radical commitment to abstract personhood seems altogether incompatible with experience--and with poems. Reading across the apparent gulf that separates traditional and avant-garde poets, Izenberg reveals the common philosophical urgency that lies behind diverse forms of poetic difficulty--from Yeats's esoteric symbolism and Oppen's minimalism and silence to O'Hara's joyful slightness and the Language poets' rejection of traditional aesthetic satisfactions. For these poets, what begins as a practical question about the conduct of literary life--what distinguishes a poet or group of poets?--ends up as an ontological inquiry about social life: What is a person and how is a community possible? In the face of the violence and dislocation of the twentieth century, these poets resist their will to mastery, shy away from the sensual richness of their strongest work, and undermine the particularity of their imaginative and moral visions--all in an effort to allow personhood itself to emerge as an undeniable fact making an unrefusable claim.

1946-52. (Previously deleted:1/1/06. Original release date:1/21/02)

cm 22x24 pag. 94 ill. 39 b/n e oltre 50 col. c.m. Varese, Castello di Masnago, Galleria d'Arte Contemporanea dal 21/06 al 21/09/1997 italiano

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