The Italian criminologist Cesare Lombroso (1835 – 1909) is the single-most important figure in the founding of criminology and the study of aberrant conduct in the human sciences. The Cesare Lombroso Handbook brings together essays by leading Lombroso scholars and is divided into four main parts, each focusing on a major theme. Part one examines the range and scope of Lombroso’s thinking; the mimetic quality of Lombroso; his texts and their interpretation. The second part explores why his ideas, such as born criminology and atavistic criminals, had such broad appeal. Developing this, the third section considers the manners in which Lombroso’s ideas spread across borders; cultural, linguistic, political and disciplinary, by including essays on the science and literature of opera, ‘La donna delinquente’ and ‘Jewish criminality’. The final part investigates examples of where, and when, his influence extended and explores the reception of Lombroso in the UK, USA, France, China, Spain and the Philippines. This text presents interdisciplinary work on Lombroso from academics engaged in social history, history of ideas, law and criminology, social studies of science, gender studies, cultural studies and Jewish studies. It will be of interest to scholars, students and the general reader alike.
Marco Crasso aveva figurato da più anni fra i capi del «mostro dalle tre teste» senza farne effettivamente parte. Egli serviva di contrappeso ai veri autocrati Pompeo e Cesare, o, per dir meglio, egli con Cesare figurava nella bilancia contro Pompeo. Questa parte di collega soprannumerario non era molto onorevole; ma Crasso non prendeva le cose tanto pel sottile quando si trattava di fare il proprio interesse. Egli era commerciante e mercanteggiava. Quanto gli era stato offerto non era molto; ma non potendo ottenere di più, lo accettò, e in grazia delle ricchezze che andava sempre più ammassando, cercò di far tacere la sua ambizione e di passare sopra al dispiacere di trovarsi così impotente mentre era così vicino al potere. Ma la conferenza di Lucca fece cambiare le condizioni anche per lui: per conservare anche in avvenire la preponderanza di fronte a Pompeo dopo le estese condizioni fattegli, Cesare offrì all’antico suo alleato Crasso, con la guerra contro i Parti, l’occasione di raggiungere nella Siria la posizione che egli si era fatta con la guerra celtica nelle Gallie. Nota: gli e-book editi da E-text in collaborazione con Liber Liber sono tutti privi di DRM; si possono quindi leggere su qualsiasi lettore di e-book, si possono copiare su più dispositivi e, volendo, si possono anche modificare. Questo e-book aiuta il sito di Liber Liber, una mediateca che rende disponibili gratuitamente migliaia di capolavori della letteratura e della musica.
Introduction to French Law
Author: George A. Bermann, Etienne Picard
Publisher: Kluwer Law International
Introduction to French Law is a very practical book that makes clear sense out of the complex results of the complex bodies of law that govern the most important fields of law and legal practice in France today. Seventeen chapters, each written by a distinguished French legal scholar, cover the following field in substantive and procedural detail, with lucid explanations of French law in the fields such as Constitutional Law , European Union Law, Administrative Law, Criminal Law , Property Law , Intellectual Property Law , Contract Law , Tort Liability, Family Law, Inheritance Law , Civil Procedure, Company Law, Competition Law , Labour Law , Tax Law and. Private International Law
Photography and Italy
Author: Maria Antonella Pelizzari
Publisher: Reaktion Books
In this beautifully illustrated book Maria Antonella Pelizzari traces the history of photography in Italy from its beginnings to the present as she guides us through the history of Italy and its ancient sites and Renaissance landmarks. Pelizzari specifically considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to Unification in 1860, and later in the nationalist wars of Mussolini’s regime. While many Italians and foreigners— such as Fratelli Alinari or Carlo Ponti, John Ruskin or Kit Talbot—focused their lenses on architectural masterpieces, others documented the changing times and political heroes, creating icons of figures such as Garibaldi and the brigands. Pelizzari’s exploration of Italian visual traditions also includes the photographic collages of Bruno Munari, the neorealist work of photographers such as Franco Pinna, the bold stylized compositions of Mario Giacomelli, and the controversial images created by Oliviero Toscani for Benetton advertising in the 1980s. Featuring unpublished works and a rare selection of over one hundred images, this book will appeal to art collectors and students of art history and Italian culture.
Confraternities and their contribution to the fabric of society have become invisible history for us today. Although their activities began in the Renaissance and continued until the end of the Enlightenment, confraternities have not yet found a place in the standard histories of the period, or even in the histories of religion or of the Church. With "The Boys of the Archangel Raphael," Konrad Eisenbichler brings to light the daily life and history of one such organization from its founding in 1411 to its final suppression in 1785. While focusing on the Compagnia dell'Arcangelo Raffaello, the first confraternity to be established in Florence, the author also discusses other, similar organizations. By constantly comparing developments across several confraternities, the book provides us with insight into the entire phenomenon of premodern lay religious associations for youths. The study is firmly grounded on archival and contemporary documents, and covers a variety of fields of interest: social history, church history, the history of childhood, and the history of art, literature, and music. "The Boys of the Archangel Raphael" will be the authoritative work on youth confraternities for years to come. Winner of the Howard R. Marraro Prize of the American Catholic Historical Association.
Author: Cesare Lombroso
Publisher: Duke University Press
Cesare Lombroso is widely considered the founder of criminology. His theory of the “born” criminal dominated European and American thinking about the causes of criminal behavior during the late nineteenth century and the early twentieth. This volume offers English-language readers the first critical, scholarly translation of Lombroso’s Criminal Man, one of the most famous criminological treatises ever written. The text laid the groundwork for subsequent biological theories of crime, including contemporary genetic explanations. Originally published in 1876, Criminal Man went through five editions during Lombroso’s lifetime. In each edition Lombroso expanded on his ideas about innate criminality and refined his method for categorizing criminal behavior. In this new translation, Mary Gibson and Nicole Hahn Rafter bring together for the first time excerpts from all five editions in order to represent the development of Lombroso’s thought and his positivistic approach to understanding criminal behavior. In Criminal Man, Lombroso used modern Darwinian evolutionary theories to “prove” the inferiority of criminals to “honest” people, of women to men, and of blacks to whites, thereby reinforcing the prevailing politics of sexual and racial hierarchy. He was particularly interested in the physical attributes of criminals—the size of their skulls, the shape of their noses—but he also studied the criminals’ various forms of self-expression, such as letters, graffiti, drawings, and tattoos. This volume includes more than forty of Lombroso’s illustrations of the criminal body along with several photographs of his personal collection. Designed to be useful for scholars and to introduce students to Lombroso’s thought, the volume also includes an extensive introduction, notes, appendices, a glossary, and an index.
This book seeks to understand the music of the later Middle Ages in a fuller perspective, moving beyond the traditional focus on the creative work of composers in isolation to consider the participation of performers and listeners in music-making.
History of Political Theory: An Introduction not only explores the great works of Western political theory but demonstrates their continuing relevance. Volume II traces the origin and development of liberal political theory, and so the foundations for contemporary views. The work provides a readable, scholarly introduction to the great figures in Western political theory from Hobbes to Marx. Major theorists examined include Hobbes, Locke, Hume, Montesquieu, Rousseau, Burke, Mill, and Marx, not only major figures in the liberal tradition but liberal political theory's most important critics. Theorists are examined in their historical contexts, with extensive quotations allowing them to speak for themselves. Central concepts employed in their works are carefully examined, with special attention to both how they fit together to form coherent theories and how they bear on issues of contemporary concern. Major concepts examined include freedom, rights, political obligation, and revolution. Emphasizing depth rather than breadth, this work is an ideal introduction tool for instructors who have been searching for a text that combines careful exposition of important political theorists and clear, critical analysis.
Cesare Pavese and America
Author: Lawrence G. Smith
Publisher: Univ of Massachusetts Press
Traces the life and works of the Italian poet, novelist, literary critic, and translator, examining his early fascination with American literature of the nineteenth and his later disillusionment with American culture.
Author: George Henry Hubert Lascelles Earl of Harewood
Author: Alessandro Guarini
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
Cesare Pugni was born in Genoa on 31 May 1802, and studied in Milan from 1815 to 1822, with Antonio Rollo and Bonifazio Asioli. He became a cymbalist in the theatre orchestra, and on the death of Vincenzo Lavigna, was appointed musical director. He later moved to Paris where he became director of the Paganini Institute and met the great choreographers of the time. He started an artistic collaboration that was to prove one of the most productive in the history of ballet—working closely with Jules Perrot (1810–1892), first in Paris, then in London. Here Pugni presented some of the most renowned ballets of the 19th century, such as Esmeralda (1844) and the Pas de Quatre (1845), which still find their place in some modern repertories. He also worked with Arthur Saint-Léon (1821–1870), Paolo Taglioni (1808–1884), Marius Petipa (1818–1910), and some of the greatest dancers of the century. Pugni followed Perrot to Russia and became official composer of the Imperial theatres in St Petersburg where he composed new ballets, notably Doch’ Faraona (Pharaoh’s Daughter) (1862) and Koniok Gorbunok (The Little Humpbacked Horse) (1862). His most famous collaboration, with Marius Petipa, dominated these years, lasting until the composer’s death on 26 January 1870. Pugni is remarkable for his enormous output of some 300 ballets (either original compositions or in arrangements). Arthur Saint-Leon, famous for Coppélia with Leo Delibes (1870), created The Little Humpbacked Horse to the music of Cesare Pugni for the Imperial Ballet (today the Maryinsky Ballet). The story of Koniok Gorbunok is based on the popular fairy-tale by Petr Yershov (1834), and tells of the spectacular deeds of Ivanushka with the help of the magical Little Humpbacked Horse. The scenario is notable for its humour as well as its fantasy. The ballet is of particular interest as being the first to be based on themes from Russian folklore, a particular interest of Saint-Léon, who chose the subject and the source, and devised the scenario himself. The first performance was on 13 December 1864 at the Imperial Bolshoi Kamenny Theatre in St. Petersburg. The Emperor Alexander II attended the première, a great and enduring success. Marius Petipa revived the ballet in 1895 as The Tsar-Maiden for the dancer Pierina Legnani. The work lived on for many years in the repertory of the Imperial Ballet (given in St Petersburg over 200 times), a success continued in Soviet times at the Kirov Ballet, and also the Bolshoi Theatre in Moscow in a version by Alexander Gorsky (1901). Alexander Radunsky choreographed his own version of this ballet to a score by Rodion Shchedrin for the Bolshoi Ballet in 1960, a version of which was filmed with Maya Plisetskaya as the Tsar-Maiden and Vladimir Vasiliev as Ivanushka. In 2009 Alexei Ratmansky choreographed a new version for the Maryinsky Ballet, also using Shchedrin’s score. A reconstruction of Saint-Leon’s original was filmed in 1989 for Russian television with graduates from the Vaganova Academy of Russian Ballet in the lead roles. The film included narrated sections and illustrations from a popular 1964 Russian edition of Yershov’s book.