The relationship between the family of Benedetto Croce and that of Anton Dohrn were always characterized by cordiality and mutual respect. Both houses were international meeting places of artists, intellectuals and scientists. The narrowest and most lasting relationship was that between the philosopher and Reinhard Dohrn, from 1909 to 1965 director of the Zoological Station, a long period, marked, among other things, by the two World Wars. Both events caused major problems in the life of the institution. Starting in (...) the twenties, their relationship continued until 1952, the year of Croce’s death. In the years immediately following World War I Croce strove, with his prestige and authority, to preserve the Zoological Station’s nature as a private entity, directed by Dohrn. As Minister of Education, on 30 September, 1920, he issued a decree-law which repealed that of 26 May, 1918, which had aimed at the ‘Italianisation’ of the Zoological Station. Croce instead transformed the Station into a “non-profit organization under the supervision of the Ministry of Education”. The new decree sparked a lively debate in the Parliament and in the press, between supporters and opponents of the measure. On 9 December, a major discussion took place in the Senate, published in the same year under the title On the Zoological Station in Naples. The discussion revolved around two fundamental political concepts: is it legitimate to take, for reasons of culture, civilization and the law of war, possession of the “the fruit of the talent of others”? is it legitimate “to replace with a state organization” what had been created as a private activity and was the result of the enthusiasm and interest of individuals? Croce’s victory, however, was not lasting. During the Fascist era, with the decree of 21 October 1923, the Zoological Station was again transformed into an Italian state body. (shrink)

The paper discusses the relation between philosophy and politics in the thought of Antonio Gramsci. It argues that the relation is adumbrated in Gramsci's concept of hegemony, which is simultaneously the politicization and the historicization of thought and knowledge. The concept of hegemony describes a reciprocal relation between the kaleidoscopic movement of historical reality (that is, relations of power) and the formulation and dissemination of moral and intellectual structures of thought (that is, modes of thinking and feeling).

Il materialismo storico e la filosofia di Benedetto Croce.

Antonio Gramsci is one of the major social and political theorists of the 20th century whose work has had an enormous influence on several fields, including educational theory and practice. Gramsci and Education demonstrates the relevance of Antonio Gramsci's thought for contemporary educational debates. The essays are written by scholars located in different parts of the world, a number of whom are well known internationally for their contributions to Gramscian scholarship and/or educational research. The collection deals with a (...) broad range of topics, including schooling, adult education in general, popular education, workers' education, cultural studies, critical pedagogy, multicultural education, and the role of intellectuals in contemporary society. (shrink)

El presente libro no solo realiza un eficiente estudio de la recepción hispánica de la obra estética y crítica croceana, objeto sobre todo de su segunda parte, sino que además examina con perspicacia y erudición la presencia de España, su cultura y literatura, en la obra y en la formación del pensamiento del gran autor napolitano, esto es, a fin de cuentas, el nacimiento del moderno hispanismo italiano. La figura de Benedetto Croce, su obra teórica, es un lugar clave (...) de la cultura italiana contemporánea pero también de la española e hispánica; su singularidad y penetración exigen un estudio de recepción y de comparatística ampliamente orientado, pues no ha sido asumido hasta ahora con la amplitud requerida. Ello es imprescindible para la comprensión de una cultura contemporánea demasiado a menudo sepultada por formalismos y marxismos. Al igual que casos especialísimos como el de Menéndez Pelayo o el de Alfonso Reyes, la inmensidad de la opera omnia croceana, tanto por extensión como por alcance, configura una especie de género literario personal y una suerte de constelación como ideal heurístico. Es parte irrenunciable de una gran tradición hispano-italiana y europea, románica e hispánica que es preciso reconstruir al margen del burdo ideologismo que ha inundado la cultura contemporánea y que en España desgraciadamente ha alcanzado una de sus caras más lamentables. La selección de relaciones individuales entre Croce y autores del mundo hispánico ha sido determinada desde varios criterios, pero manteniendo la primacía, como no podía ser de otro modo, de la relevancia de los relacionados: Unamuno, Ortega, Zambrano, D’Ors, Dámaso Alonso, Amado Alonso, Alfonso Reyes, Korn, Lezama Lima, Antonio Caso…, sin excluir la impronta de las publicaciones periódicas. (shrink)

Antonio Labriola in the crisis of Marxism. The article deals with the relationship between Marxism and science in Antonio Labriola’s philosophy in the years1898-­1899. In the first part, the Author looks at the content of the Postscript to Discorrendo di socialismo e di filosofia and critically analyzes Labriola’s objections to some of the central theses defended by Benedetto Croce on the theory of value and the economics of Karl Marx. In the second part, two important writings by (...) Labriola linked to the incipient debate on revisionism are examined: Polemiche sul socialismo and Sulla crisi del marxismo. In conclusion, the Author identifies in a specific conception of theory defended by Labriola the common trait between these two apparently distinct areas of inquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of (...) disalienation, that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Mark Wilson presents a highly original account of conceptual behavior that challenges many received views about concepts in analytic philosophy. Few attempts have been made to rationally reconstruct Wilson’s framework of patches and facades within a precise semantic framework. I will show how a modified version of the structuralist framework offers a semantic reconstruction of scientific theories capable of modeling Wilson’s ideas about conceptual behavior. Specifically, I will argue that Theory-Elements and a modified version of Theory-Nets explicate respectively Wilson’s patches (...) and facades. I will also demonstrate how several wandering phenomena described by Wilson can be adequately reconstructed within my framework. (shrink)

Columbia University Press's multivolume _Prison Notebooks_ is the only complete critical edition of Antonio Gramsci's seminal writings in English. Based on the authoritative Italian edition of Gramsci's work, _Quaderni del Carcere_, this comprehensive translation presents the intellectual as he ought to be read and understood, with critical notes that clarify Gramsci's history, culture, and sources; an index of names; and a contextualization of the thinker's ideas against his earlier writings and letters. This set includes notebooks 1 through 8 with (...) all attendant notes and materials and is an indispensible resource for scholars in the humanities and social sciences. (shrink)

Recent years have witnessed a revival of interest in the method of explication as a procedure for conceptual engineering in philosophy and in science. In the philosophical literature, there has been a lively debate about the different desiderata that a good explicatum has to satisfy. In comparison, the goal of explicating the concept of explication itself has not been central to the philosophical debate. The main aim of this work is to suggest a way of filling this gap by explicating (...) ‘explication’ by means of conceptual spaces theory. Specifically, I show how different, strictly-conceptual readings of explication desiderata can be made precise as geometrical or topological constraints over the conceptual spaces related to the explicandum and the explicatum. Moreover, I show also how the richness of the geometrical representation of concepts in conceptual spaces theory allows us to achieve more fine-grained readings of explication desiderata, thereby overcoming some alleged limitations of explication as a procedure of conceptual engineering. (shrink)

TRANSLATED FROM THE ITALIAN OF BENEDETTO CROCE BY DOUGLAS AINSLIE B.A. (OXON.).

This work extends theory about entrepreneurship across formal and informal institutional boundaries. While research has identified formal, informal, and renegade economies, we introduce the concept of the controversial economy, defined as the set of legal but illegitimate activities through which actors exploit opportunities. We explain the existence of the controversial economy, its prevalence, and provide examples. We explore how and why entrepreneurs may exploit opportunities in the controversial economy based on individual and opportunity-related attributes. Finally, we identify several theoretical perspectives (...) and research questions as an initial research agenda for the controversial economy. (shrink)

The Italian philosopher Benedetto Croce (1866–1952) spent most of his life as a private scholar in Naples. His Estetica, which first appeared in 1902, has remained a seminal work not only for aesthetics but also for general linguistics. As the full title indicates, this is not a narrow work dealing with the theory of art and criticism. For Croce intended this to be the first part of his 'philosophy of the spirit' and he thus presents a systematic general theory (...) intended to solve all philosophical problems. The work presents an account of the structure of the human mind and shows how art arises naturally from that structure, as well as introducing the influential notion of the organic unity of a work of art. As a result, art is shown to be integral to any life and an essential aspect of what it is to be human. (shrink)

Conceptual engineering wants analytic philosophy to be centered around the assessment and improvement of philosophical concepts. But contemporary debates about conceptual engineering do not engage much with the vast literature on conceptual change that exists in philosophy of science. In this article, I argue that an adequate appreciation of the history of philosophy of science can contribute to discussions about conceptual engineering. Specifically, I show that the evolution of debates over scientific conceptual change arguably demonstrates that, contrary to what is (...) commonly assumed in the literature about conceptual engineering, conceptual change is possible within an externalist metasemantics and that any adequate theory of conceptual change should be metasemantically plastic. (shrink)

Lakatos’ (Lakatos, 1976) model of mathematical conceptual change has been criticized for neglecting the diversity of dynamics exhibited by mathematical concepts. In this work, I will propose a pluralist approach to mathematical change that re-conceptualizes Lakatos’ model of proofs and refutations as an ideal dynamic that mathematical concepts can exhibit to different degrees with respect to multiple dimensions. Drawing inspiration from Godfrey-Smith’s (Godfrey-Smith, 2009) population-based Darwinism, my proposal will be structured around the notion of a conceptual population, the opposition between (...) Lakatosian and Euclidean populations, and the spatial tools of the Lakatosian space. I will show how my approach is able to account for the variety of dynamics exhibited by mathematical concepts with the help of three case studies. (shrink)

Written in 1938 when the Western world had succumbed to the notion that history is a creature of blind force. A reviewer at the time noted the importance of Croce's belief that "the central trend in the evolution of man is the unfolding of new potentialities, and that the task of the historian is to discover and emphasise this trend: the story of liberty". As Croce himself writes, "Even in the darkest and crassest times liberty trembles in the lines of (...) poets and affirms itself in the pages of thinkers and burns, solitary and magnificent, in some men who cannot be assimilated by the world around them." The first edition in English of HISTORY AS THE STORY OF LIBERTY appeared in London in 1941. The new Liberty Fund edition includes modest improvements to the translation by Folke Leander and arranged by Claes Ryn. (shrink)

Recent years have witnessed a revival of interest in the method of explication as a procedure for conceptual engineering in philosophy and in science. In the philosophical literature, there has been a lively debate about the different desiderata that a good explicatum has to satisfy. In comparison, the goal of explicating the concept of explication itself has not been central to the philosophical debate. The main aim of this work is to suggest a way of filling this gap by explicating (...) ‘explication’ by means of conceptual spaces theory. Specifically, I show how different, strictly-conceptual readings of explication desiderata can be made precise as geometrical or topological constraints over the conceptual spaces related to the explicandum and the explicatum. Moreover, I show also how the richness of the geometrical representation of concepts in conceptual spaces theory allows us to achieve more fine-grained readings of explication desiderata, thereby overcoming some alleged limitations of explication as a procedure of conceptual engineering. (shrink)

1. 1901-1910 -- 2. 1911-1920 -- 3. 1921-1930 -- 4. 1931-1943 (2 v.).

Excerpt from Logica Come Scienza del Concetto Puro Identita di definizione e sillogismo Connessione di concetti e pensamento del concetto Identita di giudizio e sillogismo Il ter mine medio e la natura del concetto Pretesi giudizi logici non de finitori Il sillogismo come formola verbale fissa. Uso e abuso di essa Erroneo distacco tra verita e ragione della verita nei concetti puri Distacco tra verita e ragione della verita negli pseudoconcetti. About the Publisher Forgotten Books publishes hundreds of thousands of (...) rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The publication of this book is an event in the making. All over the world scientists, psychologists, and philosophers are waiting to read Antonio Damasio's new theory of the nature of consciousness and the construction of the self. A renowned and revered scientist and clinician, Damasio has spent decades following amnesiacs down hospital corridors, waiting for comatose patients to awaken, and devising ingenious research using PET scans to piece together the great puzzle of consciousness. In his bestselling Descartes' Error, (...) Damasio revealed the critical importance of emotion in the making of reason. Building on this foundation, he now shows how consciousness is created. Consciousness is the feeling of what happens-our mind noticing the body's reaction to the world and responding to that experience. Without our bodies there can be no consciousness, which is at heart a mechanism for survival that engages body, emotion, and mind in the glorious spiral of human life. A hymn to the possibilities of human existence, a magnificent work of ingenious science, a gorgeously written book, The Feeling of What Happens is already being hailed as a classic. (shrink)

This book examines the life and work of mathematician Giovanni Battista Guccia, founder of the Circolo Matematico di Palermo and its renowned journal, the Rendiconti del Circolo matematico di Palermo. The authors describe how Guccia, an Italian geometer, was able to establish a mathematical society in Sicily in the late nineteenth century, which by 1914 would grow to become the largest and most international in the world, with one of the most influential journals of the time. The book highlights the (...) challenges faced by Guccia in creating an international society in isolated Palermo, and places Guccia’s activities in the wider European context through comparisons with the formation of the London Mathematical Society and the creation of Mittag-Leffler’s Acta Mathematica in Stockholm. Based on extensive searches in European archives, this scholarly work follows both historical and scientific treads, and will appeal to those interested in the history of mathematics and science in general. (shrink)

De l'inscription de Septemvri dite « inscription de Pistiros », il ressort que Pistiros est une polis qui fut autrefois sujette du roi Kotys (I) et qui, au moment de la gravure de l'inscription, est sujette d'un des trois successeurs de Kotys. Elle doit être localisée à l'endroit où Hérodote (VII 109, 2) situe une ville de ce nom : sur la côte égéenne de la Thrace, non loin du débouché du Nestos. Les deux emporia dont il est question sont (...) des places de commerce situées à l'intérieur du pays thrace, contrôlées et financièrement exploitées par le roi. La cité de Pistiros joue un rôle d'intermédiaire entre le roi, d'un côté, et de l'autre côté, les emporia de l'intérieur, la cité de Maronée et les marchands de Thasos et d'Apollonia résidant à Pistiros. À la lumière d'autres informations sur le royaume des Odryses, il semble bien que non seulement Kotys, mais aussi un de ses trois successeurs, Amatokos (II), exerçait son pouvoir à la fois sur la vallée de la Haute Marica et sur la côte égéenne. Ainsi, c'est ce dernier qui est l'auteur de la première partie de l'inscription, qui jette alors quelque lumière sur l'étendue de son pouvoir. Le réseau de communications, dont l'inscription suppose l'existence, se situe bien dans la réalité géographique de la région. On notera en particulier les liens qui unissaient la vallée de la Haute Marica au monde égéen à travers les Rhodopes. (shrink)

First published in 2005, Economics and Social Interaction is a fresh attempt to overcome the traditional inability of economics to deal with interpersonal phenomena that occur within the sphere of markets and productive organizations. It makes use of traditional economic concepts for understanding interpersonal events, while venturing beyond those concepts to give a better account of personalised interactions. In contrast to other books, Economics and Social Interaction offers the reader a rigorous effort at extending economic analysis to a difficult field (...) in a consistent manner, sensitive to insights from other behavioural and social sciences. This collection represents an important contribution to a growing research agenda in the social sciences. (shrink)

In this paper, we will survey the different uses of the term algorithm in contemporary legal practice. We will argue that the concept of algorithm currently exhibits a substantial degree of open texture, co-determined by the open texture of the concept of algorithm itself and by the open texture inherent to legal discourse. We will substantiate our argument by virtue of a case study, in which we analyze a recent jurisprudential case where the first and second-degree judges have carved-out contrasting (...) notions of algorithm. We will see that, thanks to our analysis of the open texture of the notion of algorithm in legal language, we can make sense of the different decisions taken by the judges as different contextually-determined sharpenings of the concept of algorithm. Finally, we will draw some general conclusions concerning the use of technical terms in legal instruments that address new technologies, such as the EU AI Act. (shrink)

We propose a nonmonotonic Description Logic of typicality able to account for the phenomenon of combining prototypical concepts, an open problem in the fields of AI and cognitive modelling. Our logic extends the logic of typicality ALC + TR, based on the notion of rational closure, by inclusions p :: T(C) v D (“we have probability p that typical Cs are Ds”), coming from the distributed semantics of probabilistic Description Logics. Additionally, it embeds a set of cognitive heuristics for concept (...) combination. We show that the complexity of reasoning in our logic is EXPTIME-complete as in ALC. (shrink)

A great virtue of this book is its fusion of Croce's unique brand of idealism and aesthetic philosophy with Vico's epistemological, ethical, and historical ...

Originally published in English in 1950 this is one of the most revealing works by one of Italy's foremost philosophers of the 20th century, who was also a courageous and effective opponent of Fascism. Following the Allied landing at Salerno, Croce was called upon by kings, princes, generals and politicians and asked to decide question of vital importance to Italy. This book records the notes Croce made on political matters in 1943 and 1944 and includes some of the many documents (...) Croce possessed which referred to the attempt in Naples to form a Corps of Italian volunteers. (shrink)

Excerpt from La Filosofia di Giambattista Vico Per quali ragioni a me sia sembrata necessaria una nuova esposizione della filosofia del Vico, potra agevolmente desumersi dai cenni sulla fortuna di questo scrittore e dalle notizie bibliografiche, che si leggono nella seconda e terza appendice del presente volume. Qui occorre avvertire soltanto che la mia esposizione non vuol essere un riassunto libro per libro e parte per parte degli scritti del Vico; e, anzi, presuppone la conoscenza di questi scritti e, ove (...) manchi, vuol eccitare il lettore a procacciarsela per meglio seguire, e per controllare, le interpetrazioni e i giudizi che gli vengono da me offerti. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)