Compendio di diritto processuale penale.

Paris, Librairie Plon-Nourrit s.d.circa 1905, cm.15x20,5, pp.166, molte tavv.bn.ft. brossura. Coll.Les Maitres de l'Art.

Designed by MArtino Msrdersteig and printed at the Stamperia Valdonega, Verona. First edition of 3075 copies. New York, The Eakins Press 1973, cm.24x30, pp.358 with 215 duotone plates. Tan cloth, black & illus. dust jacket in mylar cover, First edition. One of the most comprehensive sources on the work of Polish-born American sculptor Elie Nadelman (1882-1946). With extensive bibliography and List of Exhibitions compiled by Ellen Grand. Preliminary catalogue raisonne lists 20 Prints, 162 Drawings, and 192 Sculptures. In light duty slipcase.

London, Smithsonian Institution Press 2002, cm.18x20, pp.130, 66 tavole bianco e nero nel testo, legatura editoriale, sopraccoperta figurata. Testo in inglese. The tintype, patented in 1856, was a cheap, fast, easy-to-make, practically indestructible type of photograph that became enormously popular among the working class in the late nineteenth century. For common laborers and their families, the opportunity to join the ranks of those who owned pictures of family and friends--the upper classes--was momentous. This collection exhibits more than eighty examples of a specific kind of tintype: occupational portraits, photographs of working people with the tools of their trade. Michael L. Carlebach examines the historical significance of these tintypes and finds that they reveal a great deal about late nineteenth-century values. The subjects of these images are plumbers proudly holding their wrenches and pipe cutters, carpenters with their saws and lathing hatchets, textile workers with their spindles and yarn, icemen with their tongs. These people lived and worked at a time when a depersonalized factory system run by production and efficiency experts was beginning to dominate American industry and culture. Many of the men and women in these tintypes were part of a disappearing class of self-employed artisans and journeymen; their portraits proudly stress their individuality and the essential nobility of their work. The most common reaction of historians to tintypes has been undisguised contempt or, at best, indifference. The photographs were generally seen as hopelessly unartistic and common. Yet Carlebach celebrates these anonymous portraits and finds that they say as much about today's working Americans--who are much more likely to document their toys and leisure activities than their professions--as they do about the working men and women who proudly sat for them in a much different age.

Firenze, Accademia della Crusca 2012, cm.16x24, pp.205, brossura. Collana Quaderni degli Studi Grammatica Italiana, 27. Attraverso una riflessione sul complesso rapporto fra verbi e predicazione, questo lavoro propone di definire i verbi con complemento predicativo come verbi predicativi che necessitano, per descrivere un evento, dell'ausilio di un predicato non verbale, riferito al soggetto o all'oggetto. Un'analisi dettagliata, basata su dati estratti da corpora, permette di individuare i criteri per una classificazione originale, in cui è secondaria la dicotomia fra verbi transitivi e intransitivi, e che guarda invece al tipo di evento delineato dal verbo e al ruolo giocato dal complemento predicativo. Sono così individuate due macroclassi: eventi semplici ed eventi complessi. Per gli eventi semplici (stativi;verbo e c. pred. sono predicazioni temporalmente coincidenti, es.: sembrare, ritenere), l'analisi si concentra sulla semantica dei singoli verbi, che spazia principalmente fra modalità epistemica ed evidenzialità. Gli eventi complessi (dove verbo e c. pred. codificano due subeventi ordinati fra loro temporalmente, es.: diventare, rendere) sono invece efficacemente descritti in base alla teoria del Lessico Generativo, che consente un'analisi fine della struttura dell'evento e dei rapporti fra i subeventi.