La coinvolgente storia di Marco e dei suoi amici, che lo accompagnano lungo il percorso che compie, insieme a Sara, verso una vita nuova, nonostante la grave malattia che deve affrontare. Ambientato lungo la valle del Metauro, in un ambiente pieno di storia e di natura intatta, ripercorre il cammino difficile, affrontato con ironia e voglia di vivere, da una condizione di normalità insoddisfacente a una di invalidità pienamente appagante, con un aiuto che viene da lontano nel tempo ma è sempre lì accanto, Margherita. Per info e contatti: http://www.fabioluzietti.com/
La Cicala e la Formica una favola per bambini, un classico di Esopo ancora attuale illustrato in chiave moderna da emergenti artiste partenopee. Colori accesi, ambientazioni molto particolareggiate rendono la favola adatta anche ai più piccini. La resa dei colori restituisce con immediatezza il passaggio del tempo e delle stagioni. Linee essenziali e colori decisi caratterizzano i personaggi e le ambientazioni.
Neapolitan (Napulitano), a Romance language derived from Latin, is spoken by upwards of 7,000,000 persons in and around Naples and the greater Campania region of southern Italy, as well as by members all around the world of the southern Italian diaspora. This "A Buon 'Ntennitore . Proverbs of Naples" offers a generous selection of the most widely recognized proverbs in the Napulitano language. In it, one will find wit and wisdom for nearly every occasion, circumstance, and station. In Napulitano (Neapolitan) language with Italian and English translations.
"Fiabe Italiane: Mini Tales in Italian for Beginners" is a collection of very short tales in Italian, specifically designed for learners who are just starting to learn the language. The book features a range of simple and easy-to-read stories, each accompanied by an English translation and to help learners reinforce their understanding. The book emphasizes the importance of deliberate practice in reading when learning Italian. It encourages learners to take their time with each story, to read it slowly and deliberately, and to focus on understanding the meaning of each sentence and word. By doing so, learners can gradually build up their vocabulary and comprehension skills, and develop the confidence they need to start reading more complex texts in Italian. In addition to providing a fun and engaging way to learn Italian, "Fiabe Italiane" also offers valuable cultural insights into Italian life and traditions. Through the stories, learners can explore the country's rich history and culture, and gain a deeper appreciation for the language and its many nuances. Whether you are a beginner looking to improve your Italian language skills or an experienced learner looking for new and exciting ways to practice, "Fiabe Italiane" is the perfect book to help you achieve your language goals.
Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the franz‘sischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustifi
