Immortal Beloved meets Fifty Shades of Grey, Sophie's Choice, The Godfather, and The Reincarnation of Peter Proud in this spell-binding love story that involves classical music, kinky sex, the Holocaust, the Mafia, the psychic/occult, "soul fractions," and a 2,000-year-old curse. For twenty-eight years the Curse has lain dormant, waiting and gathering strength. Soon it will strike one last time, a lethal blow designed to destroy them. Twenty-eight years earlier, the Curse relied upon a viper to deliver a fatal dosage of poison, but somehow Elena Bianchi survived. Next time the Curse will have far more dangerous weapons at its disposal. Elena is more astute than the others. The Curse realizes that unlike her predecessors, she can somehow sense its presence and anticipate its movements. Her skills are great, but the Curse now knows where she is most vulnerable. As the saga begins, Elena and Giovanni move freely between the worlds of classical music and extremely kinky sex. However, only Elena will develop a spiritual awareness of the true history they share. In this four-part series, the battle lines are drawn. Either Elena will die, or she will put an end to the Curse, once and for all.

W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.

A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Of Love and Papers explores how immigration policies are fundamentally reshaping Latino families. Drawing on two waves of interviews with undocumented young adults, Enriquez investigates how immigration status creeps into the most personal aspects of everyday life, intersecting with gender to constrain family formation. The imprint of illegality remains, even upon obtaining DACA or permanent residency. Interweaving the perspectives of US citizen romantic partners and children, Enriquez illustrates the multigenerational punishment that limits the upward mobility of Latino families. Of Love and Papers sparks an intimate understanding of contemporary US immigration policies and their enduring consequences for immigrant families.

With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malèna; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved—a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone’s expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone’s passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.

The first comprehensive guide to women's promotion and use of textual culture, in manuscript and print, in Renaissance Italy.

The Book of Judith tells the story of a fictitious Jewish woman beheading the general of the most powerful imaginable army to free her people. The parabolic story was set as an example of how God will help the righteous. Judith's heroic action not only became a validating charter myth of Judaism itself but has also been appropriated by many Christian and secular groupings, and has been an inspiration for numerous literary texts and works of art. It continues to exercise its power over artists, authors and academics and is becoming a major field of research in its own right. The Sword of Judith is the first multidisciplinary collection of essays to discuss representations of Judith throughout the centuries. It transforms our understanding across a wide range of disciplines. The collection includes new archival source studies, the translation of unpublished manuscripts, the translation of texts unavailable in English, and Judith images and music.

Following the mass arrival of European immigrants to Argentina in the early years of the twentieth century new forms of entertainment emerged including tango, films, radio and theater. While these forms of culture promoted ethnic integration they also produced a new kind of polarization that helped Juan Peron to build the mass movement that propelled him to power.

Dosso Dossi has long been considered one of Renaissance Italy's most intriguing artists. Although a wealth of documents chronicles his life, he remains, in many ways, an enigma, and his art continues to be as elusive as it is compelling. In Dosso's Fate, leading scholars from a wide range of disciplines examine the social, intellectual, and historical contexts of his art, focusing on the development of new genres of painting, questions of style and chronology, the influence of courtly culture, and the work of his collaborators, as well as his visual and literary sources and his painting technique. The result is an important and original contribution not only to literature on Dosso Dossi but also to the study of cultural history in early modern Italy.

TORCHES FLARED MURKILY ON THE REVELS IN THE MAUL, WHERE THE THIEVES OF THE EAST HELD CARNIVAL BY NIGHT. IN THE MAUL THEY COULD CAROUSE AND ROAR AS THEY LIKED, FOR HONEST PEOPLE SHUNNED THE QUARTERS, AND WATCHMEN, WELL PAID WITH STAINED COINS, DID NOT INTERFERE WITH THEIR SPORT