Tomaso S Fortune And Other Stories Classic Reprint

Excerpt from Tomaso's Fortune and Other Stories I only hope that she will not see this, for she might consider it a breach of professional etiquette; and I attach great importance to the Opinion of this woman, whom I have only seen once in my whole life. More over, on that occasion she was subordinate to me more or less in the position of a servant. Suffice it to say, therefore, that it was war-time, and our trade was what the commercial papers call brisk. A war better remembered of the young than of the old, because it was, comparatively speaking, recent. The old fellows seem to remember the old fights better - those fights that were fought when their blood was still young and the vessels thereof unclogged. 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.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

It does not matter where it was. I do not want other people-that is to say, those who were around us-to recognize Sister or myself. It is not likely that she will see this, and I am not sure that she knows my name. Of course, some one may draw her attention to this paper, and she may remember that the name affixed to it is that which I signed at the foot of a document we made out together-namely, a return of deaths. At the foot of this paper our names stood one beneath the other-stand there still, perhaps, in some forgotten bundle of papers at the War Office.

The widespread uptake of digital platforms – from YouTube and Instagram to Twitch and TikTok – is reconfiguring cultural production in profound, complex, and highly uneven ways. Longstanding media industries are experiencing tremendous upheaval, while new industrial formations – live-streaming, social media influencing, and podcasting, among others – are evolving at breakneck speed. Poell, Nieborg, and Duffy explore both the processes and the implications of platformization across the cultural industries, identifying key changes in markets, infrastructures, and governance at play in this ongoing transformation, as well as pivotal shifts in the practices of labor, creativity, and democracy. The authors foreground three particular industries – news, gaming, and social media creation – and also draw upon examples from music, advertising, and more. Diverse in its geographic scope, Platforms and Cultural Production builds on the latest research and accounts from across North America, Western Europe, Southeast Asia, and China to reveal crucial differences and surprising parallels in the trajectories of platformization across the globe. Offering a novel conceptual framework grounded in illuminating case studies, this book is essential for students, scholars, policymakers, and practitioners seeking to understand how the institutions and practices of cultural production are transforming – and what the stakes are for understanding platform power.

In the time of a devastating pandemic, seven women and three men withdraw to a country estate outside Florence to give themselves a diversion from the death around them. Once there, they decide to spend some time each day telling stories, each of the ten to tell one story each day. They do this for ten days, with a few other days of rest in between, resulting in the 100 stories of the Decameron. The Decameron was written after the Black Plague spread through Italy in 1348. Most of the tales did not originate with Boccaccio; some of them were centuries old already in his time, but Boccaccio imbued them all with his distinctive style. The stories run the gamut from tragedy to comedy, from lewd to inspiring, and sometimes all of those at once. They also provide a detailed picture of daily life in fourteenth-century Italy.