Tortora Amodio (111 results)

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Paperback. Condition: new. Paperback. Conoscere e spesso considerato un bene senza ambiguita. Sapere significa comprendere, orientarsi, scegliere meglio, sottrarsi all'inganno e ampliare la propria liberta. Eppure esistono conoscenze che non si limitano ad aggiungere qualcosa a cio che gia sappiamo: cambiano il modo in cui vediamo il mondo, gli altri e noi stessi. Dopo certe scoperte, nulla e materialmente diverso e tuttavia tutto appare diverso. Una diagnosi, una confessione o un ricordo reinterpretato possono trasformare il significato di cio che e gia accaduto e modificare cio che immaginiamo possibile per il futuro.Questo libro nasce da una tesi semplice nelle parole, ma difficile nelle conseguenze: non e necessariamente la verita a renderci infelici; e l'impossibilita di tornare alla persona che eravamo prima di conoscerla. Alcune forme di sapere producono una soglia di irreversibilita. Possiamo accettare cio che abbiamo scoperto, elaborarlo, persino trasformarlo in una risorsa; piu difficile e recuperare integralmente la condizione mentale precedente. Una volta incrinata una convinzione fondamentale, il mondo continua a esistere, ma non puo piu essere abitato nello stesso modo.Da qui l'immagine della conoscenza come ferita: non una condanna del sapere, ma una trasformazione che lascia traccia dentro di noi. L'innocenza, in queste pagine, non coincide con ignoranza o mancanza di cultura. E una forma di ordine: il periodo in cui alcune contraddizioni non sono ancora entrate nel nostro orizzonte e possiamo costruire identita, relazioni e aspettative senza doverle integrare. Quando una nuova verita interviene, anche il passato viene riletto, perche eventi gia vissuti acquistano significati diversi.Il percorso attraversa mito, letteratura, psicologia, filosofia, scienza e cultura digitale. Dal frutto proibito a Prometeo, da Orfeo a Edipo e Faust, le grandi narrazioni occidentali hanno rappresentato il sapere come desiderio e insieme come rischio. Un equilibrio viene spezzato da un enigma, una ricerca conduce a una rivelazione, e cio che conta e la persona che rimane dopo la scoperta.La stessa ambivalenza riappare nella modernita scientifica. Conoscere significa acquisire potere sul mondo, ma ogni nuova capacita apre responsabilita e dilemmi imprevisti. La medicina puo prevedere prima di poter curare; la tecnica puo aumentare la liberta e insieme gli strumenti di controllo; la memoria digitale puo conservare cio che un tempo sarebbe scomparso. Con l'eta dell'informazione il problema si rovescia: non dobbiamo piu soltanto chiederci come ottenere conoscenza, ma come vivere quando l'informazione e continuamente disponibile.Notizie, notifiche, immagini, statistiche, diagnosi, confronti e tracce del passato entrano con facilita nella vita quotidiana. Possiamo sapere molto piu di quanto siamo in grado di elaborare. Avere accesso a un dato non significa averne colto il senso, e comprenderlo non significa ancora sapere come integrarlo nella propria vita.La questione conclusiva non e dunque se sia meglio sapere o non sapere. Il problema e che cosa dobbiamo diventare per riuscire a convivere con cio che sappiamo. La maturita non consiste nel liberarsi di ogni illusione fino a ridurre il mondo al cinismo, ne nel proteggersi da ogni verita. Consiste forse nella capacita di mantenere il desiderio senza trasformarlo in certezza, la fiducia senza confonderla con cecita, la speranza senza pretendere garanzie.La cicatrice diventa allora l'immagine concreta di questo passaggio: e la forma assunta dalla continuita dopo una trasformazione. Cosi alcune conoscenze rimangono dentro di noi: non come condanne, ma come segni di un passaggio. Non possiamo tornare del tutto a chi eravamo prima. Possiamo pero imparare a vivere, scegliere e immaginare il futuro a partire da cio che o Shipping may be from multiple locations in the US or from the UK, depending on stock availability. …

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PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback. Condition: new. Paperback. Death as an Unstable Threshold reinterprets Edgar Allan Poe's "Ligeia" by arguing that death in the tale does not function as a stable boundary between life and non-life, presence and absence, past and present. Instead, it becomes an unstable threshold: a point of passage whose completion can never be securely verified. From this premise, the book examines how uncertainty about mortality spreads into other categories-time, memory, personal identity, causality, perception, ethics, and language.The study begins from the narrator's inability to remember "how, when, or even precisely where" he first met Ligeia. This failure of autobiographical certainty becomes a model for the tale. Ligeia's death does not make her securely past; memory preserves and idealizes her so intensely that Rowena, the narrator's second wife, can never acquire an autonomous present. Mourning becomes repetition, and the past continues to act upon the present.The analysis then turns to embodiment and identity. The final scene appears to transform Rowena's body into Ligeia, but the evidence comes entirely through a narrator compromised by grief, obsession, opium, hatred of Rowena, and unstable perception. The book refuses supernatural certainty and reductive psychological explanation. Unreliability creates reasons for doubt, but it does not provide an objective alternative account.Particular attention is given to will, the Glanvill epigraph, Poe's correspondence with Philip Pendleton Cooke, and the later insertion of "The Conqueror Worm." These elements suggest resistance to death, yet they never establish a metaphysical doctrine. Will remains a hypothesis rather than a demonstrable force, while the poem's vision of mortality complicates any simple interpretation of Ligeia's return as triumph over death.The ending is read as an "anti-revelation" the narrator reaches absolute recognition-he names Ligeia-at the very moment when verification is least available. The climax produces certainty of naming without certainty of event, cause, or ontology. This gap between recognition and knowledge is central to the book.The study also gives Rowena an ethical significance. Whether Ligeia literally returns or is only projected by the narrator, Rowena's identity is erased. The desire to preserve one woman beyond death has a cost for another woman whose presence and subjectivity are displaced. The metaphysical problem is inseparable from an ethical one.Drawing together close reading, Gothic tradition, textual history, narratology, gender criticism, and philosophical analysis, the book proposes that "Ligeia" is not merely ambiguous. Its uncertainties are structured and cumulative. Death destabilizes time; unstable time weakens identity; unstable identity invites will as explanation; contested explanation exposes the limits of knowledge; failed knowledge undermines closure and consolation; the desire for survival reveals ethical costs; and language finally names what it cannot fully explain.The central question is no longer simply whether Ligeia returns from the dead. The deeper question is what happens to narrative and human categories when death can no longer guarantee an ending. The threshold model does not solve the tale's mystery; it maps why that mystery continues to generate psychological, metaphysical, ethical, and linguistic consequences for readers and critics. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback. Condition: new. Paperback. Unpublished work - First edition: Year 2026.Bram Stoker, Dracula, and the Historical Scene examines Dracula as a Gothic work created at the intersection of history, modernity, empire, science, gender, and cultural memory. The study argues that Stoker's vampire gains his power from the collision of incompatible worlds: medieval warfare and modern property law, folklore and medicine, aristocratic lineage and professional expertise, the castle and the railway. Dracula becomes the figure through whom the Victorian present confronts a past that refuses to remain safely past.The book reconstructs Stoker's historical context, from his Irish upbringing and Trinity College education to his career with Henry Irving at London's Lyceum Theatre. Rather than treating biography as a simple key to the novel, it shows how Stoker's experience of bureaucracy, theatre, journalism, travel, Ireland, and imperial Britain contributed to the conditions from which Dracula emerged.It then investigates the novel's composition and sources. Stoker's surviving notes reveal a method based on research, selection, and recombination: vampire literature, Gothic fiction, travel writing, Eastern European folklore, historical fragments, maps, and geographical studies were transformed into a new fictional system. It also challenges the exaggerated connection between Count Dracula and Vlad III. Stoker encountered the name "Dracula" and fragments of regional history, but his vampire cannot be treated as a fictional biography of Vlad the Impaler. The distinction shows how fiction can reshape historical memory.Successive chapters place Dracula within the Gothic tradition and fin-de-siecle anxieties. The Count's migration to England is examined through empire, invasion, degeneration, migration, and "reverse colonization," without reducing him to a single allegory. Science and superstition are not simple opposites: the hunters succeed by combining medicine and technology with documentary evidence, folklore, and religious knowledge.Gender and sexuality provide another perspective. Lucy, Mina, the female vampires, and the male hunters are read against debates over the New Woman, desire, masculinity, and women's changing roles. Mina's technical and analytical skills make her indispensable even while she remains surrounded by conventional ideals of femininity; the novel thus both destabilizes and attempts to restore established gender norms.The geographical analysis distinguishes historical Transylvania from Stoker's Gothic construction, assembled at a distance from travel books, folklore, maps, and imaginative synthesis. London, however, proves that Gothic danger cannot be confined to a remote East. Its property market, railways, newspapers, communications, crowds, and anonymity provide Dracula with the infrastructure of invasion. His enemies respond by turning scattered evidence into a collective archive.Finally, the book follows Dracula beyond 1897 into theatre, cinema, criticism, tourism, and popular mythology. From Nosferatu and Bela Lugosi to Hammer, Christopher Lee, and later reinterpretations, adaptation produces a composite Dracula often different from Stoker's Count. The fusion of the fictional vampire with Vlad III and the tourist mythology of Transylvania show how cultural memory can reverse the relationship between history and fiction. The study concludes that Dracula's durability depends upon transformation: Stoker turned historical fragments into Gothic myth, while later culture turned that myth back into apparent history. Dracula survives because successive periods can give him new forms through which to renegotiate the boundaries between past and present, rational and irrational, self and Other, history and myth. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Taschenbuch. Condition: Neu. Neuware.