This package contains the following components: -042521673X: Oxford New Italian Dictionary, The -0205032915: MyItalianLab with Pearson eText -- Access Card -- for Percorsi: L'Italia attraverso la lingua e la cultura (24-month access) -0205784720: Percorsi: L'Italia attraverso la lingua e la cultura -0205796087: Student Activities Manual for Percorsi: L'Italia attraverso la lingua e la cultura

"Percorsi" is designed to provide beginning learners with a variety of tools to develop their communicative competence in the four major language skills -listening, speaking, reading, and writing-and to acquire familiarity with Italian culture. All of the features in "Percorsi" have been carefully designed to support two key aspects of the language acquisition process: language comprehension and language production. This Books a la Carte Plus Edition is an unbound, three-hole punched version of the textbook and provides students the opportunity to personalize their book by incorporating their own notes and taking only the portion of the book they need to class - all at an affordable price. It comes packaged with a MyItalianLab access code to which gives students access to all of MyItalianLab's grade-boosting resources.

Italian cinema is now regarded as one of the great cinemas of the world. Historically, however, its fortunes have varied. Following a brief moment of glory in the early silent era, Italian cinema appeared to descend almost into irrelevance in the early1920s. A strong revival of the industry which gathered pace during the 1930s was abruptly truncated by the advent of World War II. The end of the war, however, initiated a renewal as films such as Roma città aperta (Rome Open City), Sciuscià (Shoeshine, 1946), and Ladri di biciclette (Bicycle Thieves, 1948), flagbearers of what soon came to be known as Neorealism, attracted unprecedented international acclaim and a reputation that only continued to grow in the following years as Italian films were feted worldwide. Ironically, they were celebrated nowhere more than in the United States, where Italian films consistently garnered the lion's share of the Oscars, with Lina Wertmüller becoming the first woman to ever be nominated for the Best Director award. This second edition of Historical Dictionary of Italian Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major movements, directors, actors, actresses, film genres, producers, industry organizations and key films. This book is an excellent resource for students, researchers, and anyone wanting to know more about Italian Cinema.

This book provides a comprehensive methodological and philosphical inquiry into, and a comprehensive scientific analysis of, the fundamental economic dynamics of capitalism as a world system.

Twentieth Century Poetic Translation analyses translations of Italian and English poetry and their roles in shaping national identities by merging historical, cultural and theoretical perspectives. Focusing on specific case studies within the Italian, English and North American literary communities, spanning from 'authoritative' translations of poets by poets to the role of dialect poetry and anthologies of poetry, the book looks at the role of translation in the development of poetic languages and in the construction of poetic canons. It brings together leading scholars in the history of the Italian language, literary historians and translators, specialists in theory of translation and history of publishing to explore the cultural dynamics between poetic traditions in Italian and English in the twentieth century.

In the first book to examine the role played by textile manufacturing in the development of fashion in Italy, A New History of 'Made in Italy' investigates Italy's transition from a country of dressmakers, tailors and small-scale couturiers in the early post-Second World War period to a major producer of ready-to-wear fashion in the 1980s. It takes the reader from Italy's first internationally attended fashion show in 1951 to Time magazine's Giorgio Armani April 1982 cover story, which signalled the fashion designer's international arrival, and Milan's presence as the capital of ready-to-wear. Chapters focus for the first time on the material substance of Italian fashion – textile – looking at questions including the importance of manufacturing quality, design innovation, composition, production techniques, commerce and the role of textile on the country's overall fashion system. Through these, Lucia Savi brings to light the importance of synthetic fibres, previously little-known players, such as the carnettisti (a type of textile wholesalers) as well as re-investigating well-known couturiers and designers such as Simonetta, Gianfranco Ferré and Gianni Versace. By looking at how things are made, by whom, and where, this book seeks to unpack the 'Made in Italy' label through a focus on making. Informed by extensive archival materials retrieved from a wide range of sources, it brings together the often-separated disciplines of fashion, textile and design history.

The study of welfare can illuminate debate about some of the grand themes in modern Italian history - the question of the success or failure of nation-building; the question of the relative strengths and weaknesses of the state; and the question of continuity and discontinuity from liberalism to fascism. It can also deepen understanding of one of the most pressing problems confronting historians of Italian fascism - the question of the actual impact of fascist rule on Italian society. Despite this, surprisingly few scholars have done any work on this important topic. This book aims to contribute to scholarship on the social history of modern Italy by examining welfare thinking and policies from the nineteenth century to the fascist period.