krainaksiazek legacy of a common man 20105977
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Immanuel Kant, Vol. 1 of 2 Forgotten Books
Książki / Literatura obcojęzyczna
Excerpt from Immanuel Kant, Vol. 1 of 2: A Study and a Comparison With Goethe, Leonardo Da Vinci, Bruno, Plato and Descartes If there be one defect more peculiarly English than another it is the tendency to sneer at everything foreign, at everything that is not familiar, everything outside the daily experience of our narrow life. Talking the other day with a man of acknowledged ability and great public worth, I happened to mention the name of Kant. "Of one thing I can assure you," said my friend, "I am too old to have anything to do with German philosophy." Coming from such a man these words set me wondering. Does there, after all, exist such a thing as German philosophy? Surely philosophy is the common possession of all mankind, not the monopoly of any one race or language. There can be few men in the world, whatever their nationality may be, who do not sometimes "think about thought." The famous misunderstood "Cogito ergo sum" of Descartes, concerning which Chamberlain has much to say, must often come into the least thoughtful minds. Why am I? What am I? What are the relations between me and the world? The investigation of the laws of human thought, its objects, methods, and results, belong to all humanity, otherwise it is nothing. And in the case of Kant, that great Lord of Thought, how far can he be called German? Have we Britons, too, not some small heredity share in the legacy which he has left to the world? About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
My Father Il Duce Kales Press
Książki / Literatura obcojęzyczna
In this historical, revisionist memoir, Romano Mussolini (September 26, 1927-February 3, 2006), the last surviving child of dictator Benito Mussolini, contributes his unique perspective to the growing body of work that portrays Il Duce's era. Through Romano's portrait of never before publicly shared memories and feelings, My Father Il Duce brings alive the domestic scenes of his childhood particularly when they intersected with his father's public role. He also relates in detail the memories of his mother, Donna Rachele, who lived until 1979 and often spoke with Romano about his father. Romano's memories, sorted by chapter, but not presented chronologically, shift between his own recollections of time spent with his father to the years after Mussolini's death in 1945. The prose lingers and then artistically moves forward, melancholy to fierce to vulnerable, like the notes of the jazz music played by Romano during his acclaimed musical career. Mussolini is presented here as a man who was supremely convinced that he was the master of his life: "'Everything happening around me, '" my father used to say, "'leaves me indifferent. I consciously choose 'Live dangerously' as my life's motto. As an old soldier, I say, 'If I advance, follow me. If I retreat, kill me. If they kill me, vindicate me.'" He saw his existence in scenes of high drama, envisioning in the end, Romano tells us, that he would be placed in front of throngs at New York City's Madison Square Garden and then executed in a macabre spectacle. In this memoir, Romano does not truly ponder the consequences of his father's alliances and dictatorship, though with at least one notable exception that he gave considerable thought to his personal anger toward Hitler for "stabbing my father in the back at his darkest hour." Instead, he seeks to render concrete the memories that he held silent over a lifetime before they were lost to history. The fascist order that Mussolini created and imposed upon Italy is one that Italians and students of history the world over are still interpreting. Indeed, his legacy was centerstage in the May 2006 Italian national elections, and one of the deputies in the Italian parliament today who represents his alliances is Alessandra Mussolini, Romano's daughter and defender of her infamous grandfather. As the trend of historical revisionism in Italy continues, in particular regarding the role of fascism, some of this kinder, gentler Mussolini is already widely accepted. Thus, My Father Il Duce (in Italian Il Duce Mio Padre) was published to great attention and controversy in Italy in 2004 and quickly became a bestseller. Romano often appeared on Italian national television and in newspaper interviews. In part, this illuminates that fascist supporters are alive and well, while also confirms even among non-supporters, the ongoing attraction to the cult of personality Mussolini masterminded. In Italy, this public discourse about Mussolini is common. However, for others it is important to establish a context for Romano's memoir. This is accomplished here through an accompanying masterful twenty-one page introductory essay by one of the world's foremost authorities on Italian political culture, Alexander Stille: writing the introductory essay to My Father Il Duce is a bit like writing the warning label on a powerful drug that has its uses but must be taken with care and knowledge of its possible side effects. Romano reached his goal of living to see the first publication of his memoir in Italian. As for this English-language edition, he earlier expressed approval of the front cover design. On January 1, 2006, he received the translated English language manuscript of his writing. During the last month of his life, he approved it. Romano Mussolini died on February 3, 2006, at age seventy-nine in a Rome hospital soon after heart surgery. Romano's death made international news. The New York Times obituary reported: "In the 1950's and 60's he was in the vanguard of Italian jazz with his group the Romano Mussolini All Stars, and he played with American greats like Dizzy Gillespie, Duke Ellington and Chet Baker. Mr. Mussolini gained even greater international fame with his first marriage, to Anna Maria Scicolone, the sister of the actress Sophia Loren....Despite his own scrupulous avoidance of politics, politicians from Italy's right wing-parties widely lauded Mr. Mussolini and his family name in statements they released: 'Romano knew how to make us love him for his humanity, his art, but also for the dignity and coherence with which he defended his family from attacks and demonizations.'" Through Romano's worldwide celebrity and well-regarded nature, his words in defense of Il Duce, albeit ones he no doubt wrote as a son who loved his father, offer a rare insider's perspective that can help us better understand, and therefore more readily defeat tyranny. This memoir's account of history further reminds us of the continuing need for our vigilance in the pursuit of truth.
Mattia Preti Midsea Books Ltd,Malta
Książki / Literatura obcojęzyczna
2013 marks the 400th anniversary of the birth of Mattia Preti. This important occasion is being marked by an exhibition organized by Heritage Malta and the Comune of Taverna, where Mattia Preti was born. The exhibition is the final stage of a three year process during which the works of Preti have been studied and revisited. The exhibition together with the Catalogue is the culmination of this journey. The Catalogue includes 9 papers by leading art scholars and historians, some of whom are publishing for the first time their findings after the recent studies of Pretti's paintings. The Catalogue also includes entries of the 49 art-pieces and artifacts forming part of this unique exhibition. Much passion and commitment has gone into the making of this project. Dignity is perhaps the intended objective which to our great satisfaction also received the positive support of some of the major European museums including the Louvre, Prado, Musei Vaticani, Brera, Uffizi, Capodimonte and Galleria Nazionale di Palazzo Barberini amongst others. This common intent shared between Preti's two historic realities, the native city of Taverna and Malta, spurred the curators to reap the desired results and achieve the intended objectives of this complex cultural project. The backbone of this project is a scientific research project proper concerning Preti's works in both Taverna and Malta, particularly the National Museum of Fine Arts, and goes beyond art historical research to include scientific investigations undertaken jointly by Taverna's Laboratorio di Restauro Conservazione e Ricerca and Heritage Malta's Conservation Division at Bighi. The scientific investigation carried out on Preti's Martyrdom of St Catherine of Alexandria, in particular, yielded unexpected results and confirmed the iconographical attributes of the martyr saint lying underneath. We hope these results will be the scope for more debate and discussion for the international academic community to take further. All this empowered us to read deeper into Preti's works in both Taverna and Malta and guided our selection of works to feature in the exhibition. The 400th anniversary of Mattia Preti's birth makes us all proud of a shared heritage which this project rethinks and consolidates. Vincenzo Bonello, who contemporary to Alfonso Frangipane and Valerio Mariani, rediscovered Mattia Preti's legacy and corpus of works in Malta transformed all this into a powerful identity construct mostly effective during colonial times. Preti's ideals have thus moved beyond any delimiting borders on to our times, four hundred years later and, from this safe distance, empower us to objectively assess his exceptional creative trajectory. Preti can now be read as a noble man who strives hard with his art to get back what his family had lost a few years before his birth. His quest transformed him from knight to a monk of war ready to do battle in the name of his spiritual and social affirmations which can be fully recognized in the ideals of Faith and Humanity.
If Only We Could Know! Ivan R Dee, Inc
Książki / Literatura obcojęzyczna
It will soon be a hundred years since the death of Anton Chekhov. He was apt to remark that immortality is rubbish, but what has happened to his creative legacy in the last century matches all of man's metaphors that express the idea of immortality. And the process continues, overcoming boundaries of time and space, and taking different form in different countries. In this luminous book of criticism, Chekhov's foremost Russian interpreter offers to Western readers a remarkably clear and commanding appraisal of the master's work. Vladimir Kataev concerns himself chiefly with Chekhov's unique treatment of a wide range of diverse themes, motifs, and situations. With ringing authority and critical common sense, he examines Chekhov's major tales, stories, and plays, pointing out patterns of development in Chekhov's approach to characters and themes, and tracing the roots of Chekhov's ideas as expressed through his plots. The hallmark of Mr. Kataev's interpretations is their clarity. No one who has endured tortuous explanations of Chekhov will fail to welcome his lucid criticism. With his careful arguments, he quietly undermines many conventional (and persistent) approaches to Chekhov, Western as well as Russian, and establishes a radically new position of his own.
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