Le Lettere Di San Paolo

«Fare una descrizione precisa di ciò che non ha mai avuto luogo è il compito dello storico». La sentenza di Oscar Wilde guida questa ricostruzione del rimosso del cinema del Novecento, la storia dei grandi film non fatti, dal Don Chisciotte di Welles al Viaggio di G. Mastorna di Fellini, dal Cristo di Dreyer al Napoleone di Kubrick, dal Que viva Mexico! e Il prato di Bežin di Ejzenštejn al The Day the Clown Cried di Lewis. E ancora, Godard, Pasolini, Munk, Vertov, Lanzmann: la storia di grandi progetti incompiuti, di riprese che si sono protratte per decenni e poi sono state dimenticate in qualche magazzino, immagini rimaste sulla carta oppure riutilizzate, ma al di fuori della loro destinazione originaria. Attraverso questo racconto, emerge il profilo di quello che il Novecento non ha saputo vedere e raccontare, il retro della Storia, nonché il profilo di una storia delle immagini del cinema che disloca la centralità della sala cinematografica per far emergere i meccanismi di negoziazione e i doveri d’autore che preludono alla visibilità o alla scomparsa di tali immagini perdute.

Catherine of Siena (1347–1380) wrote almost four hundred epistles in her lifetime, effectively insinuating herself into the literary, political, and theological debates of her day. At the same time, as the daughter of a Sienese dyer, Catherine had no formal education, and her accomplishments were considered miracles rather than the work of her own hand. As a result, she has been largely excluded from accounts of the development of European humanism and the language and literature of Italy. Reclaiming Catherine ofSiena makes the case for considering Catherine alongside literary giants such as Dante and Petrarch, as it underscores Catherine's commitment to using the vernacular to manifest Christ's message—and her own. Jane Tylus charts here the contested struggles of scholars over the centuries to situate Catherine in the history of Italian culture in early modernity. But she mainly focuses on Catherine’s works, calling attention to the interplay between orality and textuality in the letters and demonstrating why it was so important for Catherine to envision herself as a writer. Tylus argues for a reevalution of Catherine as not just a medieval saint, but one of the major figures at the birth of the Italian literary canon.

Dosso Dossi has long been considered one of Renaissance Italy's most intriguing artists. Although a wealth of documents chronicles his life, he remains, in many ways, an enigma, and his art continues to be as elusive as it is compelling. In Dosso's Fate, leading scholars from a wide range of disciplines examine the social, intellectual, and historical contexts of his art, focusing on the development of new genres of painting, questions of style and chronology, the influence of courtly culture, and the work of his collaborators, as well as his visual and literary sources and his painting technique. The result is an important and original contribution not only to literature on Dosso Dossi but also to the study of cultural history in early modern Italy.

This bibliography lists some 1300 works, most of which are annotated, that are germane for the interpretation of 1 and 2 Thessalonians. It includes all relevant works written in the 20th century as well as a sizeable number of important sources from the 19th century.

This bibliography lists some 1300 works germane for the interpretation of 1 and 2 Thessalonians. It includes all relevant works written in the 20th century as well as a sizeable number of important sources from the 19th century. Virtually all the works listed are annotated, except for commentaries and dictionary articles. These annotations do not merely describe the content of each source but attempt to summarize its central thesis or argument. The works listed are classified and cross-indexed in such a way that the user is able to track down easily the relevant sources on any given topic or passage in the Thessalonian letters.