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Useful and Translatable. Sectorial and Everyday Language Vocabulary Exercises is an academic workbook for intermediate and advanced students (B1 to C1) and professionals willing to improve their knowledge and use of Italian for specific purposes. This book can be used for both self-study and classroom activities. It allows the users to expand their vocabulary of the language of gastronomy, tourism, gardening, DIY, car mechanics and hairdressing, beauty and banking services. The workbook introduces elements of Italian culture and everyday life and improves skills in searching for information, using editorial techniques and translating functional texts from the professional and everyday sphere into Italian and Polish.

Italian language --- Spoken Italian.

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The present manuscript is meant as volume I of a series of books comprising four volumes in total. Except for Hüttinger´s barely sufficient survey, its object, an overall presentation of Venetian painting from the early beginnings till the 18th and 19th centuries, has almost been neglected by German scholars up to this day. The same may be said about Italian investigations, the more so as the book-series Pittura nell Veneto (edited in several volumes) strongly resembles a corpus opus: It does comprise the most important facts (e.g.the biographies of the artists) and provides a fine collection of pictures as well as a presentation of the momentary status of research, making every effort to completeness, but purely artistic, developmental, iconographic, style-genetic and coloring problems are examined in a rather rudimentary manner and, moreover, organised in a way which cannot easily be followed by the reader. When overlooking the numerous single publications by Italian authors, one will realize that they share an almost incomprehensible timidity of analysing the paintings thoroughly. Such an attempt, however, must be considered the only proper way to get to the root of both development and peculiarity of Venetian painting, so well characterized by Hetzer´s term "ornamental". Comparative work interpretations will have to meet this scientific deficiency. Proceeding from a descriptive technique based on the specific structure and thus taking form as well as colour into consideration, the theories of morphology and perceptive psychology largely contribute to this intention. Only on the ground of visual findings which have been proven analytically, questions of how to date properly, of how to decide possible work participation and/or dependence of the artists can be clarified, with the additional goal of reaching hermeneutic results and working out what is considered typically Venetian.- Volume I starts out with a survey of Venetian history till the middle of the 15th century, leading from the mosaics of San Marco (beginning with the 11th century) to the second half of the quattrocento. Contrary to usual scholarly views, the art of mosaics is classed with the art of painting, for it incorporates the very same criteria of painting as to form, style and arrangement. The main point here is to bring O.Demus´s scientific results with reference to chronology, genesis of style etc. in accordance with those of Italian scientists who quite frequently hold different views, and to come up with personal decisions at times. Prevailing in the mosaics of San Marco, Byzantinism conditions Venetian painting (fresco and table painting, which gets into being at the end of the 13th century) and remains dominant till late into the trecento. Here it is first observed with Paolo Veneziano, who seldom glances at the development of the occidental style on Terraferma (e.g. Giotto). The ensuing breakthrough of the Gothic style is found with Lorenzo Veneziano. In its course, Byzantine, Upper-Italian and transalpine stimulations fuse into a remarkable symbiosis. Hence investigations in the field of coloring, which have rarely been dealt with in specialized literature, play and hitherto will play a decisive rôle in the evaluation of Venetian painting. A special chapter is dedicated to N. Semitecolo who stands under Padua´s influence (cf. Guariento). After recurrences to conservative Byzantine elements in the last third of the trecento, the international Gothic style celebrates its entry into Venetian painting (cf Jacobello de Fiore) under the strong influence of Gentile da Fabriano. At the same time, first signs of a more modern attitude to painting can be observed with Giambono. Far longer than in the rest of Italy, painting in Venice was partial to the tendencies of the international Gothic as well as to elements of splendour, decoration and space.

Painting, Italian.

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What is the common aspect linking the studies of this volume, which take into account very different authors such as Conte, Palazzeschi, Zanzotto, Caproni, Rosselli, Biagini, some crespuscolar poets, Leopardi, Annovi, Giuliani, and even some twentieth-century translations of R.M. Rilke? They share the belief that the poetic word - which etymologically has "creative" powers - generates cognitive perspectives altering our perception of the world. Reading poetry does not have an effect confined to the page and to the moment, but affects our relationship with reality, changes it and enriches it in an often unsuspected and surprising way. In this collection, the authors try to bring out a sort of epistemology of poetry, in order to clarify how it can contribute to illuminating our experience of the world and of ourselves. The reader is then invited to look beyond the boundaries traditionally established by the various disciplines, in the direction of mutual contamination and openness to innovative and unprecedented suggestions.

Italian poetry.

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Thanks to Gioia Benedetti's careful philological work, a short, narrative and hitherto unknown text brings back the voice of one of the most original and brilliant Italian critics of the 20th century. After the trip to Brazil in his youth, in his single finished novel set in Rio de Janeiro in the Fifties, Notti di Copacabana, Ruggero Jacobbi conveyed not only the climate and atmosphere of a distant and in some ways mythical world such as Brazil, but also a significant track of the readings, meetings and influences of the great texts of Portuguese and South American literature, at the time mostly unknown in Italy. Jacobbi had an extraordinary talent at catching and interpreting the changes in the narrative code, and in this book, the author offers an incredibly intriguing experimental story with alternating voices and characters and intertwining events, contributing to the creation of a suspenseful atmosphere.

Italian literature

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"Man schreit vor Angst und Entsetzen. Diese Bilder sind das Innerste, Erschütterndste, Grandioseste, Unfassbarste, das seit Menschengedenken gemacht worden ist." Der Künstler Hugo Ball (1886-1927) zeigte sich 1913 nach seinem Besuch des Kunstsalons Emil Richter in Dresden wahrhaft überwältigt angesichts der dort ausgestellten Gemälde der Futuristen. Auch andernorts riefen die Künstler Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo und Gino Severini teils heftige Reaktionen hervor. Gegründet wurde die italienische Avantgardebewegung 1909 mit der Veröffentlichung des Manifests Le Futurisme durch den Dichter Filippo Tommaso Marinetti. In der darin aufgestellten Behauptung "Schönheit gibt es nur noch im Kampf. Ein Werk ohne aggressiven Charakter kann kein Meisterwerk sein" wird Gewalt als ideologische Basis der Bewegung bekundet. War die ganzheitliche Erneuerung der Kunst und Kultur Italiens das Ziel der Futuristen, so teilten sie die Überzeugung, dass diese nur auf der (ideellen) Zerstörung tradierter kultureller und gesellschaftlicher Werte gründen könne. Die vorliegende Untersuchung geht dem Ursprung des Themas der Gewalt in den futuristischen Manifesten aus der Geisteshaltung des späten 19. Jahrhunderts nach und analysiert die Art und Weise, wie die futuristischen Künstler das Thema der Gewalt auf ihre bildlichen Werke übertrugen. Reaktionen von Betrachtern wie Hugo Ball werden herangezogen, um zu untersuchen, inwiefern die Kunst im Futurismus als Kommunikationsmittel gesellschaftlicher Forderungen und ästhetischer Inhalte der futuristischen Ideologie eingesetzt wurde.

Painting, Italian.