A comprehensive overview of contemporary Italian pedagogy from an international perspective blends empirical research with practical strategies for teachers In recent years, teachers of Italian, like most world languages, have faced many changes to the teaching and learning landscape, including new teaching mediums, different expectations for enrollments, and a vivid awareness of social issues in the classroom. Teachers must now navigate effective language teaching practices and integrate important new topics and approaches. The Art of Teaching Italian brings together experts from around the world in Italian language pedagogy, applied linguistics, and second-language acquisition to address the field's most pressing concerns and challenges with examples from creative teaching. Featuring contributions on a wide range of topics, including DEI issues, remote learning, and experiential learning, this edited volume blends empirical research with practical strategies and recommendations for teachers, centering the teaching of secondary and post-secondary Italian language and culture. The Art of Teaching Italian shows that it is possible to enhance Italian language learning through creativity and ingenuity and to lead students to intercultural competence, a crucial skill in a globalized world.

"This is the revised text of a work first published as Countdown under the pseudonym Michelle Maddox by Dorchester Publishing Co., Inc., in 2008"--Title page verso.

Durante un viaggio in Francia, il protagonista del racconto decide di visitare la Maison de Santé, una casa di cura per malati mentali dove si utilizza il «metodo calmante». Il direttore, Monsieur Maillard, lo invita a pranzo con la promessa di fargli visitare la struttura. Ma si scopre subito che il metodo è stato abbandonato per gli inconvenienti che causava e sostituito da quello di due eminenti studiosi, il dottor Catrame e il professor Piuma, mentre il pranzo diventa sempre più strano…

When our tyrannical CEO fires every wake-up-call service on the planet, what's a lowly admin to do? I secretly start making the calls myself. Luckily he doesn't seem to mind my get-your-ass-out-of-bed attitude. But now the calls are turning hot, like pay-by-the-minute hot, and he wants to take me out on a date. He's scouring Manhattan to find the sexy vixen who wakes him up every morning. No way can I let him know it's me!

The ancient Greek lyric poet Simonides of Keos was the first poet in the Western tradition to take money for poetic composition. From this starting point, Anne Carson launches an exploration, poetic in its own right, of the idea of poetic economy. She offers a reading of certain of Simonides' texts and aligns these with writings of the modern Romanian poet Paul Celan, a Jew and survivor of the Holocaust, whose "economies" of language are notorious. Asking such questions as, What is lost when words are wasted? and Who profits when words are saved? Carson reveals the two poets' striking commonalities. In Carson's view Simonides and Celan share a similar mentality or disposition toward the world, language and the work of the poet. Economy of the Unlost begins by showing how each of the two poets stands in a state of alienation between two worlds. In Simonides' case, the gift economy of fifth-century b.c. Greece was giving way to one based on money and commodities, while Celan's life spanned pre- and post-Holocaust worlds, and he himself, writing in German, became estranged from his native language. Carson goes on to consider various aspects of the two poets' techniques for coming to grips with the invisible through the visible world. A focus on the genre of the epitaph grants insights into the kinds of exchange the poets envision between the living and the dead. Assessing the impact on Simonidean composition of the material fact of inscription on stone, Carson suggests that a need for brevity influenced the exactitude and clarity of Simonides' style, and proposes a comparison with Celan's interest in the "negative design" of printmaking: both poets, though in different ways, employ a kind of negative image making, cutting away all that is superfluous. This book's juxtaposition of the two poets illuminates their differences--Simonides' fundamental faith in the power of the word, Celan's ultimate despair--as well as their similarities; it provides fertile ground for the virtuosic interplay of Carson's scholarship and her poetic sensibility.

Mary Taylor, Charlotte Bront"e's closest and lifelong friend, did indeed fulfill Bront"'s prediction in both her life and her writings. Recently, however, the authenticity of Taylor's feminist classic, Miss Miles, has been put into question. A controversy is now raging among experts and scholars of Victorian fiction over the true authorship of Miss Miles. Did Mary Taylor labor over this novel from her early womanhood until the end of her life, and offer it as her last great act of friendship to women? Or is it the last work of Charlotte Bront"e, taken from her home to prevent its destruction, then published posthumously under Taylor's name? Regardless of its authorship, Miss Miles is a passionate and compelling novel, well deserving of its literary status on its own terms, and fascinating as a part of the Bront"e world. In this, the only edition of Miss Miles available, Taylor breaks with tradition by creating a profoundly feminist and morally intense novel which depicts female friendships as sustaining life and samity through the vicissitudes of Victorian womanhood. Set in the small Yorkshire village of Repton against the backdrop of starvation in the wool districts and the rise of Chartism in the 1830s, this extraordinary work chronicles the lives of four socially disparate women as they learn to find their own voices and support one another. Taylor's own courage and allegiance to her friends is wonderfully reflected in each of these individually ambitious women, while the novel's emphasis on the healing power of women's friendships echoes the relationship between Bront"e and Taylor herself. Originally published in 1890, Miss Miles continues to stand as an eloquent polemic in favor of a women's personal obligation to support herself. It is a classic that will delight all lovers of fine literature.