Varietà della lingua e rete sociale.

Firenze, Olschki Ed. 2014, cm 17 x 24, vi-230 pp. Studi pichiani, 17. Il volume persegue il tentativo di ricostruire le gnoseologie di Marsilio Ficino e Giovanni Pico della Mirandola nel contesto più ampio delle loro opzioni metafisiche e antropologiche. Nella riflessione ficiniana vengono fatti coesistere apporti procliani e ben più importanti motivi plotiniani, come la dottrina dell’anima non discesa. Almeno fino all’Heptaplus Giovanni Pico mostra sostanzialmente di condividere l’orientamento plotiniano del platonismo di Ficino, cercando nel contempo una conciliazione con l’aristotelismo in nome dell’ideale della pax philosophica. / The book aims at reconstructing Ficino's and Pico's gnosiological ideas, framing them in the broader context of their metaphysical and anthropological thought. In Ficino’s reflection, elements of Proclus’s thought coexist with much more significant Plotinus’s motives, such as the doctrine of the undescended soul. Pico seems to share Ficino’s tendency to Plotinian Neoplatonism - at least until the Heptaplus -, trying at the same time a connection with the Aristotelianism on behalf of the ideal of the pax philosophica.

Editecd with an introduction by Ian Jeffrey. Firenze, Thames and Hudson 1994, cm.22x28, pp.192, ill.bn. brossura copertina figurata. Bill Brandt's position as one of the greatest British photographers of the 20th century is incontestable. His name and achievement fit easily within the pantheon of international 'greats' of modern photography: Atget, Brassai, Kertdsz and Cartier-Bresson. Brandt's career began in 1920s Paris, when he was introduced by Ezra Pound to Man Ray, who took him on as an apprentice and who inspired the surrealistic vision characteristic of his early pictures. His first great work spanned a whole decade: an encyclopaedic study of the social conditions of Britain in the Thirties, culminating in two famous cycles, "The English at Home" (1936) and "A Night in London" (1938). In the Second World War and the years that followed Brandt expanded his range to include portraiture, landscape and nudes. Patiently delving after the uniqueness of every person or place - the sadness of Dylan Thomas, the bleakness of Wuthering Heights or the qualities of the female form - his vision conferred a timeless, mythic quality on both the notable and the ordinary. This retrospective review of Brandt's work, edited with an introduction by Ian Jeffrey, is published on the occasion of a major exhibition at the Barbican Art Gallery, London. Its six sections cover every aspect of his art, from the early sociological studies to the late nudes. Many celebrated images are included, but others have never been seen in book form before. Ian Jeffrey is the author of many books, including "Landscape" (1984) and "Photography: A Concise History" (1981), both published by Thames and Hudson.

London, Routledge & Kegan Paul 1971, cm.24,5x29, pp.304, ill. hardcover dustjacket.