Le piacevoli historie.

A cura di Pierre - George Castex. Paris, Garnier Ed. 1983, cm.11,5x18,5, pp.LXVI,366, num.tavv.bn.ft. brossura cop.fig. Coll.Classiques.

Scelta a cura di M.Bongiovanni Bertini. Milano, Mondadori 2001, ,2 voll. cm.11x18, pp.XCVIII,1821, legature editoriali in t.pelle, cofanetto. Coll.I Meridiani.

A cura di Daniela De Agostini, postfazione di Andrea Mazzucchi. Roma, Salerno Ed. 2003, cm.12x19,5, pp.120, brossura copertina figurata a colori. Coll.Faville,23. Libro fondatore dell’immaginario dell’esilio, i Proscritti rappresenta, all’interno dell’“edificio” balzachiano quella soglia che l’Autore attraversa nel momento in cui avverte in sé il nascere di una nuova poetica. Punto d’incontro delle riflessioni giovanili d’ispirazione mistica e dell’attrazione per il pensiero scottiano – dunque attinente a un progetto di scrittura sul versante del romanzo storico –, in esso Balzac si misura con quella «visionarietà del reale attenta all’immensa verità dei dettagli» che gli permetterà di addentrarsi nel labirinto della Commedia umana. Redatto nel 1831, troverà la sua collocazione all’interno degli Studi filosofici soltanto nel 1840; tra i suoi protagonisti, Dante Alighieri e Sigieri di Brabante, figure nelle quali Balzac si è rispecchiato nella condivisione di un analogo ideale di perfezione e di impossibile Unità che incontra, in un doloroso destino di proscrizione, l’apertura verso il “mistero delle cose” e della loro ricreazione nell’opera d’arte.

Paris, Librairie Nouvelle 1856, cm.10,5x16,5, pp.396, brossura, cop.post. mancante. Esempl. da rilegare. Qualche fioritura e gore di umidità agli interni. Collection Oeuvres compàtes de Balzac.

Paris, Aubier, Editions Montaigne 1944, cm.12x19, pp.256, brossura intonso.

Illustraz.di Chiara Raineri. Lingue: italiano, inglese. Paramica-Lama House Pub. s.d. cm.22x22, pp.n.n. brossura cop.fig.a col.

Foligno, CB Edizioni 2017, cm.16x22,5, pp.13o con 30 tavole a colori ft. brossura copertina figurata a colori. The anatomical drawings of Leonardo da Vinci are generally admired for their analytical character and graphical precision, or are studied from the perspective of the scientific discoveries which the artist made in a strictly anatomical context, or in those of pathological investigation. They may also be viewed in the light of contemporary knowledge and ideas without considering the full value and the novelty of their intended visualization. In this volume, centred on the contexts and methods of visualization, Paola Salvi looks at the theory and practice of the visual arts as the foundation of Leonardos anatomical drawings. which become a scientific contribution since their intention was to make visible the human body in all its parts, by means of the selection and reconstructive imagery of the drawings. Direct observation and the communicative value of visual language replace the tedious and scarcely useful verbal descriptions of anatomical texts of the time, leading the artist to the programmatic synthesis expressed around 1510: ""Therefore it is necessary to make a drawing of it as well as to describe it"". This volume therefore becomes not only a reinterpretation and a more conscious placement of the anatomical work of Leonardo in the context of the knowledge of the time, but is also the basis of a new historical framework for artistic anatomy and, above all, for the anatomical iconography which finds models of reconstruction which have come into their own right, in the works of Leonardo. Carlo Pedretti, who writes the foreword, defines the book as, ""an enterprise that requires courage and the ability to conduct a rigourous interpretive synthesis, qualities that once again I can not help but recognise in Paola Salvi

Cambridge at the University Press 1970, cm.14,5x22, pp.VIII,212, 1 map hardcover, clothbound, dust jacket. Coll:Anglica germanica Series,2. Ferdinand Raimund (1790–1836) was a noted comic actor in the tradition of the Viennese Popular Theatre. He wrote plays to suit the talents of his ensemble at the Leopoldstadt comedy theatre and to entertain the Viennese community, but a powerful ambition to rise above the merely local drove him to develop the conventional dramatic forms beyond their traditional limits. Dorothy Prohaska examines his plays, and discusses their local characteristics as well as their individuality. She is closely informed about the Vienna of the time, and many sections of the book, showing in detail how the plays draw on contemporary life, are full of colourful detail about the city itself. She reveals the complexity of Raimund's development as a playwright within the popular tradition and assesses his achievement as an original dramatist.