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Paris 2007. 1 Volume/1. -- Nove -- Rilegato in piena tela bianco con titolo oro impresso al piatto e al dorso. Sovraccoperta Editoriale E Cofanetto ( 31,7 x 25,7 cm )( 2515 gr )----------- Pagine XV-294. ******************************* "" Dopo aver letto il libro Leonardo del Tasso. Scultore fiorentino del Rinascimento di Alfredo Bellandi ti invitiamo a lasciarci una Recensione qui sotto: sarà utile agli utenti che non abbiano ancora letto questo libro e che vogliano avere delle opinioni altrui. L opinione su di un libro è molto soggettiva e per questo leggere eventuali recensioni negative non ci dovrà frenare dall acquisto, anzi dovrà spingerci ad acquistare il libro in fretta per poter dire la nostra ed eventualmente smentire quanto commentato da altri, contribuendo ad arricchire più possibile i commenti e dare sempre più spunti di confronto al pubblico online."" ******************** ref V-bs-B réf IV srmC

Ril. in tela con sovr. e cust., cm 36x24, pp 350, 264 ill. a col. e ill. in b/n. - ISBN: 9788889218433

Black wraps with color illustration. 117 pages : illustrations (chiefly color). Catalog of an exhibition held at the Oskar Reinhart Collection "Am Römerholz", Winterthur, September 6-December 14, 2008./ Includes bibliographical references (pages 115-117).

xxxiv + 260 + iii pp, 1,5" magic marker vertical on fr pastedown, else Fine / HC. preface, introduction, the three texts, Appendix 1: the collation of texts; Appendix 2: alternate versions; about the texts and editor. 6.25" x 9.25" blackcloth boards, gilt letters to fr cover and spine. crisp, tight, white. Size: Large Octavo

The Tasso glider recliner in charcoal is the epitome of comfort and style. With its sleek design and contrasting welt detailing, this recliner adds a touch of sophistication to any living space. The gliding feature allows for a smooth and soothing motion, perfect for relaxing after a long day. The full extension reclining function provides ultimate comfort, while the brown fabric adds warmth and richness to your room. Whether you're lounging with a book or watching your favorite movie, the Tasso glider recliner offers both style and relaxation, all in one. Color: Blue.

Torquato Tasso, at the age of eighteen, composed his first epic poem, “Rinaldo.” It combines romantic epic — a form popularized by Italian masters like Boiardo and Ariosto — with classical influences from Virgil and Aristotle. Despite Tasso’s youth, his “Rinaldo” was a remarkably original achievement in terms of style, organization and plot. Tasso’s story-telling abilities are clear as he manages to shape an enormous array of characters, geographical backdrops, uncanny events and mysterious devices into an impressively unified narrative. The hero of the poem begins his quest for knighthood spurred on by his own sense of unworthiness in the shadow of Orlando, his world-famous cousin. Rinaldo quickly enters a world of jousts and maidens, love and magic spells, hidden enemies and secret friends, disastrous shipwrecks, enchanted castles and unexpected meetings. Tasso’s work has all the elements of the best of Renaissance tales of noble fortunes gone wrong and righted. Max Wickert’s introduction opens the reader to the literary scene of mid-cinquecento Italy: a complex world of competition, jealousy and innovation. In this world Tasso’s own father Bernardo, a court poet and diplomat, had tried his hand at an enormous epic, “Amadigi,” which met with more prestige than success. Planning to protect his son from the disappointments of a writer’s life, he arranged for him to study law at the University of Padua. The call of the literary life proved too strong, however. While he should have been pursuing his legal studies, Torquato published his “Rinaldo” at Venice in 1562, only two years after his father’s own epic. Introduction, bibliography, glossary, chronology, plot summary, index. 492 pages.

Sorrento on the nth of March 1544, and died in Rome on the 25th of A pril 1595, aged fift3r=orne. He belonged to an old family of Bergamo, and was a poets son. His father, Bernardo Tasso, full fifty years old at the time of his sons birth, had then been for thirteen years in the service of Ferrante Sanseverino, Prince of Salerno, and had married in 1536 the beautiful and spiritual Porzia de Rossi, of the house of the Marquises of Calenzano. Their son Torquato was first educated at schools of the Jesuits in Naples, Rome, and Bergamo. They were the best schools of the time. At eight years old the boy read Greek lind Latin and had begun to write Italian verse. Then he was in Pesaro for a time, sharing the education given to the son of the Duke of Urbino. After this he was for a year in Venice with his father, and then, at the age of thirteen, he was sent to study law at Padua. Bernardo Tasso, the father, shared the troubles of his patron, the Prince of Salerno, who in 1550 incurred the displeasure of the Emperor Charles V. for seeking support from the King of France while urging on the Emperor the pleadings of the Neapolitans against establishment of the Inquisition in Naples. Ferrante Sanseverino was in 1552 declared a rebel, his estates were forfeited, and he was exiled from Salerno. Bernardo Tasso lost at the same time his income of 900 scudi, and what little possessions he had, except the poem on A madis that he had begun. He left Salerno and went to France, leaving his wife and children to the care of relatives. After two years in France, Bernardo Tasso joined his prince in Rome, and sent for his son Torquato; his wife and daughter then entering a convent at Naples.(Typographical errors above are due to OCR software and don't occur in the book.)About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mytholo

L?o Delibes (1836-1891) looked to a play of the Italian Renaissance, Torquato Tasso's AMINTA, for narrative material when composing his full-length...

Late in the eleventh century the First Crusade culminated in the conquest of Jerusalem by Christian armies. Five centuries later, when Torquato Tasso began to search for a subject worthy of an epic, Jerusalem was governed by a sultan, Europe was in the crisis of religious division, and the Crusades were a nostalgic memory. Tasso turned to the First Crusade both as a subject that would test his poetic ambition and as a reflection on the quandaries of his own time. He sought to create a masterpiece that would deserve comparison with the great epics of the past.Gerusalemme liberata became one of the most widely read and cherished books of the Renaissance. First published in 1581, it was translated into English by Edward Fairfax in 1600. That translation has been the standard, even though Fairfax was only a good, not a great, poet. Fairfax tried to fit Tasso's verse into Spenserian stanzas, adding to and subtracting from the original and often changing Tasso's meaning.Anthony Esolen's new translation captures the delight of Tasso's descriptions, the different voices of its cast of characters, the shadings between glory and tragedy―and it does all this in an English as powerful and clear as Tasso's Italian. Tasso's masterpiece finally emerges as an English masterpiece.

'Today as I was leaving home, I saw a guy in the street. Just by exchanging glances, we decided to make love.' Valerie Tasso is an unashamedly promiscuous French woman who becomes a high-class prostitute in Madrid. This is her story, told in riveting and explicit detail. From sex in a graveyard, to unusual acts with coca-cola bottles, she explores every fetish with joyful abandon.In the tradition of Belle du Jour and The Sexual Life of Catherine M, Valerie Tasso's memoir is an addictive tale of passion and promiscuity.

L?o Delibes (1836-1891) looked to a play of the Italian Renaissance, Torquato Tasso's AMINTA, for narrative material when composing his full-length...

Food-obsessed and always hungry, New Orleans is a culinary melting pot of diverse people and diverse cuisines. From classics like jambalaya and beignets to new additions like boudin egg rolls and shrimp & tasso pinchos, there’s something for everyone whether you live in the city or are just visiting. The new edition of The New Orleans Chef’s Table brings together the best that the Big Easy has to offer, including recipes from each featured restaurant so you can recreate your favorite dishes at home. Come celebrate the taste of New Orleans!

In his setting of Orlando (drawn from Tasso's Orlando furioso), Handel offers a score of a remarkable dramatic power, diversity and originality. Everything in the opera arouses admiration: the extremely varied scoring, the exuberant vocal writing, the rhythmic invention, the subtle melodies. With a fantastic vocal setup and his always excellent ensemble, Jean-Claude Malgoire has produced a recording that will permanently stay among the very best readings of the score. In words of The Daily Teleg

The tradition of Christian epics, born out of Biblical stories and Homeric poems, counts among its most influential exponents Dante, Malory, Tasso, Spenser, Milton, Blake, Goethe, and Joyce (along with Virgil as its founding father). Balsamo's Rituals of Literature is devoted to Joyce's and Dante's special contributions to this tradition. By highlighting the integrated nature of its typical tropes, Joyce and Dante establish the historical identity of the Christian epic as a distinct literary genre.

Torquato Tasso, at the age of eighteen, composed his first epic poem, “Rinaldo.” It combines romantic epic — a form popularized by Italian masters like Boiardo and Ariosto — with classical influences from Virgil and Aristotle. Despite Tasso’s youth, his “Rinaldo” was a remarkably original achievement in terms of style, organization and plot. Tasso’s story-telling abilities are clear as he manages to shape an enormous array of characters, geographical backdrops, uncanny events and mysterious devices into an impressively unified narrative. The hero of the poem begins his quest for knighthood spurred on by his own sense of unworthiness in the shadow of Orlando, his world-famous cousin. Rinaldo quickly enters a world of jousts and maidens, love and magic spells, hidden enemies and secret friends, disastrous shipwrecks, enchanted castles and unexpected meetings. Tasso’s work has all the elements of the best of Renaissance tales of noble fortunes gone wrong and righted. Max Wickert’s introduction opens the reader to the literary scene of mid-cinquecento Italy: a complex world of competition, jealousy and innovation. In this world Tasso’s own father Bernardo, a court poet and diplomat, had tried his hand at an enormous epic, “Amadigi,” which met with more prestige than success. Planning to protect his son from the disappointments of a writer’s life, he arranged for him to study law at the University of Padua. The call of the literary life proved too strong, however. While he should have been pursuing his legal studies, Torquato published his “Rinaldo” at Venice in 1562, only two years after his father’s own epic. Introduction, bibliography, glossary, chronology, plot summary, index. 492 pages.

This is a translation of Torquato Tasso's Rime d'amore, introduced and translated into English verse by Maria Pastore Passaro. It contains and introduction and the Italian text faces the English translation on the opposite page.

Art, Theory and Culture in Sixteenth-Century Italy offers a critical overview of the literature on the visual arts produced during the High and Late Renaissance. Analyzing and interpreting texts by such writers as Vasari, Lomazzo, Zuccaro, and Tasso, Robert Williams demonstrates how these works offer insight into the experience of contemporary viewers, thus permitting a clearer view of the relationship between abstract thought and lived experience. By focusing on a heretofore neglected, but important body of literature, Williams shows how an understanding of it can transform our knowledge and appreciation of the Renaissance.

"The poem is rising into splendid popularity. Some say it is better than Milton-but that is all bosh-nothing can be better than Milton; many say it licks Kalidasa; I have no objection to that. I don't think it impossible to equal Virgil, Kalidasa, and Tasso." Michael Madhusudan Datta wrote this in a letter to a friend about his verse narrative, The Slaying of Meghanada (1861). The epic, a Bengali version of the Ramayana story in which Ravana, not Rama, is the hero, has become a classic of Indian literature. Datta lived in Bengal at the height of what is frequently called the Bengal Renaissance, a time so labeled for its reinvigoration and reconfiguration of the Hindu past and for the florescence of the literary arts. It was also a period when the Bengali city of Kolkata was a center of world trade-the second city of the British empire-and thus a site of cultural exchange between India and the West. Datta was the perfect embodiment of this time and place. The Slaying of Meghanada is deeply influenced by western epic tradition, and is sprinkled with nods to Homer, Milton, and Dante. Datta's deft intermingling of western and eastern literary traditions brought about a sea change in South Asian literature, and is generally considered to mark the dividing line between pre-modern and modern Bengali literature. Datta's masterpiece is now accessible to readers of English in Clinton Seely's elegant translation, which captures both the sense and the spirit of the original. The poem is supplemented by an extensive introduction, notes, and a glossary.

This is a translation of Torquato Tasso's Rime d'amore, introduced and translated into English verse by Maria Pastore Passaro. It contains and introduction and the Italian text faces the English translation on the opposite page.

"The poem is rising into splendid popularity. Some say it is better than Milton-but that is all bosh-nothing can be better than Milton; many say it licks Kalidasa; I have no objection to that. I don't think it impossible to equal Virgil, Kalidasa, and Tasso." Michael Madhusudan Datta wrote this in a letter to a friend about his verse narrative, The Slaying of Meghanada (1861). The epic, a Bengali version of the Ramayana story in which Ravana, not Rama, is the hero, has become a classic of Indian literature. Datta lived in Bengal at the height of what is frequently called the Bengal Renaissance, a time so labeled for its reinvigoration and reconfiguration of the Hindu past and for the florescence of the literary arts. It was also a period when the Bengali city of Kolkata was a center of world trade-the second city of the British empire-and thus a site of cultural exchange between India and the West. Datta was the perfect embodiment of this time and place. The Slaying of Meghanada is deeply influenced by western epic tradition, and is sprinkled with nods to Homer, Milton, and Dante. Datta's deft intermingling of western and eastern literary traditions brought about a sea change in South Asian literature, and is generally considered to mark the dividing line between pre-modern and modern Bengali literature. Datta's masterpiece is now accessible to readers of English in Clinton Seely's elegant translation, which captures both the sense and the spirit of the original. The poem is supplemented by an extensive introduction, notes, and a glossary.