Notizie istoriche de' santi protettori della città d'Ancona; de' cittadini, che con la loro santità l'anno illustrata, della di lei cattedrale, e vescovi, della città, e SS. crocefisso d'Umana. Date alla luce per maggiormente promovere la pubblica divozione.

Mode of access: Internet.

Un po' più di luce sugli eventi politici e militari dell' anno 1866,

Mode of access: Internet.

Il fuoco e la luce nella Divina commedia : saggio di studi /

Includes bibliographical references and index.

Vocabvlario italiano e spagnvolo vltimamente con la correzione ed aggiunta del suo vero autore mandato in luce: Nel quale con ageuolezza, e copia di molti vocaboli, nella prima stampa tralasciati, si dichiarano, e con proprietà conuertono tutte le voci Toscane in Castigliano, e le Castigliane in Toscano. Con infinite frasi, e molti proverbi, che in amendue le lingue giornalmente occorrono, e con succinti ed utili auuertimenti di molte cose notabili. Opera vtilissima, e necessaria a' predicatori, segretari, e traduttori, che con legittimo senso, e vero fondamento le voglion tradurre, od imparare.

Vol. 2: 3. impression corr., y a ñadido.

De luce animalium libri III. admirandis historiis rationibusque novis referti.

Mode of access: Internet.

Prejudice and the press; a restatement of the principle of freedom of the press with specific reference to the Hutchins-Luce Commission.

Mode of access: Internet.

Female Exiles in Language: Reading for New Poetic Subjects in Modern and Contemporary Feminist Experimental Poetry

Thesis (Ph.D.)--University of Washington, 2016-06

Love, that indispensable supplement: Irigaray and Kant on love and respect

Is love essential to ethical life, or merely a supplement? In Kant's view, respect and love, as duties, are in tension with each other because love involves drawing closer and respect involves drawing away. By contrast, Irigaray says that love and respect do not conflict because love as passion must also involve distancing and we have a responsibility to love. I argue that love, understood as passion and based on respect, is essential to ethics

Propuestas para una reconceptualización surrealista y postmoderna de la sexualidad femenina en los textos de Cristina Escofet e Isabel Allende

Female sexuality has commonly been viewed as the passive counterpart of male sexuality. Building upon Adrienne Rich's theory of compulsive heterosexuality, I would suggest that the fundamental location of this problem lies within the subconscious. Cristina Escofet's stance on this issue is to argue in favor of a deconstruction of Jungian archetypes, revealing their constructed rather than intrinsic character. In this dissertation, I study representative texts by Escofet and Isabel Allende and show not only how they depict patriarchal compulsive heterosexuality, but also try to reconceptualize female sexuality through surrealist and postmodern techniques such as self-reflection, dialogue with our double or Other, and sensorial perception. These techniques are designed to create a new epistemology of jouissance and excess, as defined by contemporary French theory. The significance of my study resides in the interdisciplinary analysis of female sexuality in Hispanic feminist writers. The first chapter proposes that surrealism, postmodernism, and feminism are theoretical frameworks which create new paradigms for social change. In their feminist philosophies, Escofet and Allende emphasize the use of subconscious knowledge as a means of helping them understand the world and create alternative realities. The second chapter shows how Escofet and Allende deconstruct the mysoginist archetype of Eve, which has been largely responsible for identifying women's sexual identity with the disreputable qualities of the femme fatale and whose mirror-image has long plagued women. In accordance with this stereotype, Lillith (Adam's sexually active ex-partner), has typically been portrayed as the negative Other, and for generations the she-devil myth which surrounds her has resurfaced in the media, where she assumes the role of innumerable evil female characters. In the third chapter, I examine how class and race differences have been used to intensify the demonization of different types of sexuality. In the same manner as Lillith and Eve, black and indigenous characters express dissent by retelling their stories in words and performance, and by seeking to form a dialog with their readers. The last chapter deals with the importance of the senses for female characters as they try to create their own sexuality from the fragmented bodies we find in surrealist and postmodern art. In this section we shall see how Luce Irigaray and Hélène Cixous's theories about multiple sexualities are in evidence when Escofet and Allende reconceptualize female sexuality. As no previous scholarship has analyzed the use of the subconscious, the senses, and performance when understanding female sexuality in Latin American literature, this dissertation seeks to provide a tentative exploration of the issues that may help to open up a new field of research in Hispanic feminist cultural studies.

Inventing "French Feminism:" A Critical History

French Feminism has little to do with feminism in France. While in the U.S. this now canonical body of work designates almost exclusively the work of three theorists—Hélène Cixous, Luce Irigaray, and Julia Kristeva—in France, these same thinkers are actually associated with the rejection of feminism. If some scholars have on this basis passionately denounced French Feminism as an American invention, there exists to date no comprehensive analysis of that invention or of its effects. Why did theorists who were at best marginal to feminist thought and political practice in France galvanize feminist scholars working in the United States? Why does French Feminism provoke such an intense affective response in France to this date? Drawing on the fields of feminist and queer studies, literary studies, and history, “Inventing ‘French Feminism:’ A Critical History” offers a transnational account of the emergence and impact of one of U.S. academic feminism’s most influential bodies of work. The first half of the dissertation argues that, although French Feminism has now been dismissed for being biologically essentialist and falsely universal, feminists working in the U.S. academy of the 1980s, particularly feminist literary critics and postcolonial feminist critics, deployed the work of Cixous, Irigaray, and Kristeva to displace what they perceived as U.S. feminist literary criticism’s essentialist reliance on the biological sex of the author and to challenge U.S. academic feminism’s inattention to racial differences between women. French Feminism thus found traction among feminist scholars to the extent that it was perceived as addressing some of U.S. feminism’s most pressing political issues. The second half of the dissertation traces French feminist scholars’ vehement rejection of French Feminism to an affectively charged split in the French women’s liberation movement of the 1970s and shows that this split has resulted in an entrenched opposition between sexual difference and materialist feminism, an opposition that continues to structure French feminist debates to this day. “Inventing ‘French Feminism:’ A Critical History” ends by arguing that in so far as the U.S. invention of French Feminism has contributed to the emergence of U.S. queer theory, it has also impeded its uptake in France. Taken as a whole, this dissertation thus implicitly argues that the transnational circulation of ideas is simultaneously generative and disabling.

Cold War Legacies: Systems, Theory, Aesthetics

From futures research, pattern recognition algorithms, nuclear waste disposal and surveillance technologies, to smart weapons systems, contemporary fiction and art, this book shows that we are now living in a world imagined and engineered during the Cold War. Drawing on theorists such as Jean Baudrillard, Jacques Derrida, Michel Foucault, Luce Irigaray, Friedrich Kittler, Michel Serres, Peter Sloterdijk, Carl Schmitt, Bernard Stiegler and Paul Virilio this collection makes connections between Cold War material and conceptual technologies, as they relate to the arts, society, and culture.

Is the cinematic newsreel the strongest weapon? The "Luce" newsreel reception during fascism

The Luce newsreel was a fascist-pivotal propaganda instrument. Mussolini thought movies were the strongestweapon; however, the efficiency of cinematographic propaganda on people did not work as well as expected,especially nonfiction. This article intends to value, through oral testimonies, the influence of Lucenewsreel on the Italian population during fascism, the degree of truth of film news, and which of those piecesof news were more repeated, as well as the influence of the Italian and its leader image on the collective mind.