Marxismo Oggi. Numero speciale di "Il Ponte", annoLXIII nn.8-9 agosto-settembre 2006.

A cura di G. Cacho Millet. Firenze, Olschki Ed. 2000, cm.17x24, pp.XVIII-242, 4 tavv.ft. 91 figg.nt. brossura soprac.fig.a col. Coll.Cultura e Memoria, 16. Gli autografi che qui si raccolgono, spersi in diversi fondi, archivi e biblioteche d’Italia, anticipano, fanno parte o rappresentano un epilogo ai «Canti Orfici», il solo libro scritto dal poeta, edito nel 1914. I documenti sono stati rigorosamente ordini. The autographs collected here, dispersed in various Italian funds, archives and libraries anticipate, are part of and represent an epilogue to «Canti Orfici», the only book that the poet wrote, published in 1914. The documents have been rigorously put int

Presentaz.di Elvio Guagnini e Rienzo Pellegrini. Trieste, Alcione Edizioni 1996, cm.16,5x24, pp.264, brossura cop.fig. Coll.Letteratura a Nord-Est, diretta da Elvio Guagnini e Rienzo Pellegrini,2. Questo volume è stato pubblicato con il contributo della regione Friuli-Venezia Giulia.

Ms 330 Biblioteca Real Academia Espanola. Edicion y estudio. Pisa Ediz.ETS 2004, cm.16x24, pp.452, brossura Biblioteca di Studi Ispanici,8. El manuscrito 330 de la Biblioteca de la Real Academia Española es un cancionero misceláneo de la segunda mitad del siglo XVI. La primera descripción del mismo aparece en el Catálogo de manuscritos de la Real Academia Española, no existiendo, con anterioridad a dicha fecha, ninguna noticia sobre la existencia de esta recopilación poética. Pese a su valor informativo, la descripción que se hace en el Catálogo contiene algunas importantes omisiones, así como no pocos errores. Por ello, más allá de repetir la información allí recogida, las siguientes líneas intentan estudiar los aspectos materiales del manuscrito, corrigiendo los numerosos errores del Catálogo, y desarrollando algunos aspectos importantes que allí sólo, y en el mejor de los casos, se apuntan escuetamente.

Ill.by Matteo Guarnaccia. Text in english. Milano, 24 Ore Cultura 2016, cm.20x28, pp.238, hardcover. Women's hairstyles have changed dramatically over the past century. Charting the progression from styles dictated by fashion and tradition towards more unique and individualised looks, this book explores how the history of women's hair in the west corresponds with their liberation over the course of the 1900s. Up until the '40s, the figure of the hairdresser reigned supreme; they were the undisputed authority on style. They created new hairstyles that the divas of Hollywood were to make successful on the silver screen, which paved the way for greater experimentation in the future. New feminine figures came from diverse worlds: art, goth and punk subcultures, and the street. Their daring cuts defined style after style. Josephine Baker and the world of jazz contrasted with Annemarie Schwarzenbach of the bohemian Weimar years. Her signature androgynous style can be compared to the Petite tete of Dior's New Look, while in America the beehive of rock n' roll fame played on through the Jacqueline Kennedy label. At last, in the '80s, individual women crossed the threshold of the salons and became the sole leading players there.Refined illustrations, era-specific photographs, and contemporary images tell the story of the hairstyles and fashion trends that flourished between 1940 and 1980, as well as those in vogue today. The volume closes with a section dedicated to the most famous hairstylists and salons de coiffeur, past and present.