Carlo Goldoni (1707 – 1793) was one of the most prolific and versatile playwrights of his century, even though most of his vast output deals with life confined to a few square miles of Northern Italy. This new edition contains two comedies about women surviving precariously in a man's world, but each taking a distinctly different approach to her problems. Mirandolina believes open dealing is essential; Valentina wants to have her cake and eat it, and uses intrigue to further her interests. Both are eager to win some kind of equality in a world in which they have no equality, only certain advantages, and almost come to grief. But these are worldly comedies and Goldoni does not deny us the satisfaction of seeing the women triumph.
This book fills a major gap in the ever-increasing secondary literature on Hannah Arendt's political thought by providing a dedicated and coherent treatment of the many, various and interesting things which Arendt had to say about law. Often obscured by more pressing or more controversial aspects of her work, Arendt nonetheless had interesting insights into Greek and Roman concepts of law, human rights, constitutional design, legislation, sovereignty, international tribunals, judicial review and much more. This book retrieves these aspects of her legal philosophy for the attention of both Arendt scholars and lawyers alike. The book brings together lawyers as well as Arendt scholars drawn from a range of disciplines (philosophy, political science, international relations), who have engaged in an internal debate the dynamism of which is captured in print. Following the editors' introduction, the book is split into four Parts: Part I explores the concept of law in Arendt's thought; Part II explores legal aspects of Arendt's constitutional thought: first locating Arendt in the wider tradition of republican constitutionalism, before turning attention to the role of courts and the role of parliament in her constitutional design. In Part III Arendt's thought on international law is explored from a variety of perspectives, covering international institutions and international criminal law, as well as the theoretical foundations of international law. Part IV debates the foundations, content and meaning of Arendt's famous and influential claim that the 'right to have rights' is the one true human right.
This collection covers the lyrical poetry of Mary Shelley, as well as her writings for Lardner's "Cabinet Cyclopaedia of Biography" and some other materials only recently attributed to her.
Carlo Goldoni was Italy's greatest playwright of the eighteenth century and wrote at least one hundred and fifty plays, although only a handful; of these have been performed since his time. Working for theatres in both Venice and Paris, he took much of his inspiration from 'commedia dell'arte'. This collection focuses on Goldoni's more serious side and includes the plays Don Juan, Friends and Lovers and The Battlefield. The first published English-language edition of Goldoni’s worldly vision of the Don Juan legend, in verse, alongside translations of the naturalistic Friends and Lovers and The Battlefield, all of which were first seen at the Citizens Theatre in Glasgow.
Carlo Goldoni (1707-1793) is widely recognized as one of Italy's finest playwrights, but his production for the operatic theatre is much less well known. While musicologists have established the importance of Goldoni's innovations in the form of the comic libretto, literary scholars have tended to see the drammi giocosi as at best a pale reflection of the plays, and at worst a distortion of the «real» Goldoni. In Goldoni as Librettist, Emery traces the complex web of relationships between plays and libretti, illustrating the ways in which the author used his operas to prepare for the comedies, or to experiment with themes to which the plays were closed. This reading of Goldoni's operatic texts not only confirms their status as a form of literary activity, but also allows us to more fully understand Goldoni's development as a playwright.
