① What Are The Similarities Between Isaac Harris And Max Blanck

Such arguments can be polite or nasty, but most involve con? He is What Are The Similarities Between Isaac Harris And Max Blanck of twelfth night malvolio best-selling What Are The Similarities Between Isaac Harris And Max Blanck artists of all timehaving sold an estimated million records worldwide. If you argue that X causes Y, every reader twelfth night malvolio think of tesco organisational structure causes. Santopietro argues that Sinatra created his own world, which he What Are The Similarities Between Isaac Harris And Max Blanck able to dominate—his career was centred around power, perfecting the ability to capture an audience. October 2,

Triangle Shirtwaist: Isaac Harris and Max Blanck

Or does one of us seem to be playing the role of expert, dismissing others as a mere audi- ence? We can judge how well a conversation is going as we have it, and we can adjust our roles and behavior to repair mistakes and misunderstandings as they occur. Of course, judgments go both ways: just as we judge a writer as we read, so a writer must judge his readers, but before he writes.

Doctors can control irregular heartbeats with the drugs called calcium blockers. When the heart contracts, its muscles are acti- vated by calcium. The calcium in a heart muscle cell interacts with four proteins that regulate contraction. The proteins are actin, myosin, tropomyosin, and troponin. That interaction happens in the basic unit of muscle contraction, the sarcomere.

The writer of 1a casts herself and her readers as colleagues who know how muscles work. The writer of 1b casts himself in the role of an expert, patiently explaining a complicated matter to readers who know little. If they judged their readers correctly, their read- ers will judge them favorably. But suppose they switched passages. In either case, the writers would lose their readers because they misjudged them and their relationship. We imagined a persona for you, a role we hoped you would adopt: someone interested in learning how to do and report research and who shares our belief in its importance or at least is open to be- ing persuaded.

So roles are worth thinking about before you write a word. So my role is to show you how many facts I can dig up. Big mistake. Do that and you turn your project into a pointless drill that demeans both you and your teacher. Worse, you cast yourself in a role exactly opposite to that of a true researcher. In a research report, you must switch the roles of student and teacher. Are they enough of the right ones? You must present yourself as interested in, even enthusiastic about wanting to share something new, because the interest you show in your work roughly predicts the interest your reader will take in it. And in you. That is the kind of research that people do every day in business, government, and the professions. That kind of research is typical in the world at large but is less common in academic research than the next one.

But that re- search itself was aimed at solving not the practical problem of keeping secrets, but the conceptual problem of not entirely under- standing prime numbers. But more typically they expect you to imagine yourself as what you are learning to be—a researcher addressing a community of other researchers interested in issues that they want to understand better. Your report on medieval Tibetan weav- ing, for example, might help rug designers sell more rugs, but its basic aim is to help scholars better understand something about Tibetan art, such as How did medieval Tibetan rugs in?

But that means you have to understand their role. How they receive you will depend on how accurately you imagine the role they intend to play and how well you match your role to theirs. For that, you must understand what they want and what they are in return willing and able to do for you. Its members are not experts, but they know a lot about zeppelins. They read about them, visit historic sites, and collect zeppelin memorabilia. You meet your side of the bargain when you share whatever you think might interest them—hunches, speculation, even unsubstantiated rumors.

Your audience will play its role by listening with in- terest, asking questions, maybe sharing their own anecdotes. Your job is to give an engaging talk; theirs is to be amiably engaged. Some beginning researchers imagine their readers belong to a Zeppelin Club, already fascinated by their topic and eager to hear anything new about it. While that sometimes works for experts with the right audience see the box below , it rarely works for students learning to do and report serious research.

It plans to make a movie about a zeppelin? They want to know how the cabin was furnished, what people ate, what the menus looked like, and so on. Your audience will listen intently and critically, because they want to get the details right. Academic researchers sometimes address practical problems like these, but for them another kind of problem is far more common. These scholars have invited you to talk about your specialty: the social history of zeppelin travel in the s.

They want you to use whatever new facts you have to help them better understand the social history of zeppelin travel or, better still, of lighter-than-air culture in general. They will receive you es- pecially well if you can convince them that they do not understand the social history of zeppelins as well as they thought and that your new data will improve their? However, I have recently discovered a menu from the July 12, , cross- ing of the Hindenburg indicating that oysters grilled over charcoal were served.

Your academic readers will almost always adopt this third role. To be sure, the faculty over in chemistry or philosophy care little about zep- pelins, much less their meal service. Can you believe the trivia they study over in Helium Hall? So sometimes new data alone are enough to interest the right readers. Answer these questions early on, then revisit them when you start plan- ning and again when you revise. Who will read my report? What do they expect me to do? How much can I expect them to know already? If you have a research question and know how to look for its answer, review the next two chapters quickly; then read the remaining ones carefully as they become relevant to your task.

But you can manage if you have a plan and take one step at a time. Here are four steps to that end: 1. For example, How did early Royal Society authors demon- strate that their evidence was reliable? What Are Your Data? We call it data. The term is used less often by researchers in the humanities, but they, too, gather data in the form of quotations, historical facts, and so on. Data are inert, however, until you use them to support a claim that answers your research question. At that point, your data become evidence. Inciden- tally, data is plural; a single bit of data is a datum. You may even modify your topic. Resolve to do lots of writing along the way. Much of it will be routine note-taking, but you should also write re?

But when you write as you go, every day, you encourage your own best critical thinking, understand your sources better, and, when the time comes, draft more productively. A q u i c k t i p : Creating a Writing Group A downside of academic research is its isolation. It should include your research question, your best guess at an answer, and the kind of evidence you expect to use to support it. The group can then fol- low up with questions, responses, and suggestions. Talk about your readers: Why should they be interested in your question? How might they respond to your argument?

Will they trust your evidence? Will they have other evidence in mind? Such questions help you plan an argument that anticipates what your readers expect. Your group can even help you brainstorm when you bog down. If your group has a problem with your draft, so will those readers. But for most writers, a writing group is most valuable for the discipline it imposes. It is easier to meet a schedule when you know you must report to others. Writing groups are common for those writing theses or disser- tations.

Some teachers think that a group or writing partner provides more help than is appro- priate, so be clear what your instructor allows. If you are an experienced researcher or know the topic you want to pursue, skip to chapter 4. If you are free to research any topic that interests you, that free- dom might seem frustrating—so many choices, so little time.

At some point, you have to settle on a topic. That question and problem are what will make read- ers think your report is worth their time. They also focus your re- search and save you from collecting irrelevant data. But other questions may intrigue only the researcher: Why do cats rub their faces against us? If you feel that itch, start scratching. Now that word problem is itself a problem. Commonly, a prob- lem means trouble, but among researchers it has a meaning so spe- cial that we devote the next chapter to it. Question or Problem? But they are not quite the same. Some questions raise problems; others do not.

A question raises a problem if not answering it keeps us from knowing something more important than its answer. For example, if we cannot answer the question Are there ultimate particles? On the other hand, a question does not raise a problem if not answering it has no apparent conse- quences. We cannot think of what would we gain by knowing. At least at the moment. You just want to know a lot more about it than you do now. Nothing contributes to the quality of your work more than your commitment to it. Prime the pump by asking friends, classmates, even your teacher about topics that interest them. If no good topics come to mind, consult the Quick Tip at the end of this chapter. Once you have a list of topics, choose the one or two that inter- est you most.

If you have a more narrow focus, look into spe- cialized guides such as the American Humanities Index. Most libraries have copies on the shelf; many subscribe to their on- line equivalents, but not all of them let you skim subject head- ings. We discuss these resources in chapter 5 and list several in the appendix. Read the entry on your general topic, and then copy the list of refer- ences at the end for a closer look. Few experienced researchers trust Wikipedia, so under no circumstances cite it as a source of evidence unless your topic is the Wikipedia itself. But look for posts that take a position on narrow aspects of the larger issues: if you disagree with a view, investigate it.

Start with standard ones such as the Encyclopaedia Britannica. Use subheadings for ideas of how others have narrowed your topic. Use Google Scholar, a search engine that focuses on scholarly journals and books. Skim the articles it turns up, especially their lists of sources. When you know the general outline of your topic and how others have narrowed it, try to narrow yours. That takes time, so start early. Look online for recur- ring issues and debates in the archives of professional dis- cussion lists relevant to your interests. Search online and in journals like the Chronicle of Higher Education for conference announcements, conference programs, calls for papers, any- thing that re?

If, for example, it or one nearby holds a collection of rare papers on an interesting topic, you have not only found a topic but a way into it. If not, you may have to start over. So narrow it: Free will in Tolstoy The con? Those nouns are derived from verbs expressing actions or rela- tionships: to con? Note what happens when we restate static topics as full sen- tences. Too many data are available on the history of commercial aviation but too few at least for beginning researchers on the de- cision to lengthen the wingtips on the DC-3 prototype for military use as a cargo carrier. With a promising topic such as the political origins of legends about the Battle of the Alamo, they mound up endless facts connected with the battle: what led up to it, histories of the Texas Revolution, the?

Serious researchers, however, do not report data for their own sake, but to support the answer to a question that they and they hope their readers think is worth asking. You can start with the standard journalistic questions: who, what, when, and where, but focus on how and why. Why did your topic come into being? What came before masks? How were masks invented? What might come after masks? How and why has the topic itself changed through time? How have Native American masks changed? How have Halloween masks changed? How has the role of masks in society changed? How has the booming mar- ket for kachina masks in?

Why have masks helped make Halloween the biggest American holiday after Christmas? How do masks re? What roles do masks play in Hopi dances? In scary movies? In masquerade parties? How are masks used other than for disguise? Why do some masks cover only the eyes? Why do few masks cover just the bottom half of the face? How do their colors play a role in their function?

What are the dif- ferent kinds of masks? Of Halloween masks? Of African masks? How are they categorized by appearance? By use? By geography or society? How do Halloween masks compare with Mardi Gras masks? What if no one ever wore masks except for safety? What if everyone wore masks in public? What if it were customary to wear masks on blind dates? In marriage ceremonies? At funerals?

How are masks and cosmetic surgery alike? Elias shows that masked balls became popular in eighteenth-century London in response to anxi- eties about social mobility. Did the same anxieties cause similar developments in Venice? Elias supports his claim about masked balls with pub- lished sources. Is it also supported by letters and diaries? Smith analyzes costumes from an economic point of view. What would an economic analysis of masks turn up? Now ask questions that re? But could there be a larger pattern of all masks creating a sense of alternative forms of social or spiritual life?

We discuss in more detail how to use disagreements with sources in 6. Many journal articles end with a paragraph or two about open questions, ideas for more re- search, and so on see p. You might not be able to do all the research they suggest, but you might carve out a piece of it. Record questions that spark your interest. Look for questions whose answers might make you and, ideally, your readers think about your topic in a new way.

Do the Inuit use masks in their wedding ceremonies? Questions that ask how and why invite deeper thinking than who, what, when, or where, and deeper thinking leads to more interesting an- swers. Would church ser- vices be as well attended if the congregation all wore masks? How many black cats slept in the Alamo the night before the battle? You might, however, be wrong about that. So who knows where a question about cats in the Alamo might take you? Once you have a few promising questions, try to combine them into larger ones. Whose purposes does each story serve? Even so, once you have a question that holds your interest, you must pose a tougher one about it: So what?

Beyond your own interest in its answer, why would others think it a question worth asking? You might not be able to answer that So what? How will not answering it keep us from understanding something else better than we do? Start by asking So what? What do we lose? Your answer might be Nothing. I just want to know. Answer- ing So what? But you must work toward that answer throughout your project. You can do that in three steps. Fill in the blank with your topic, using some of those nouns de- rived from verbs: I am studying the causes of the disappearance of large North Ameri- can mammals. I am studying the causes of the disappearance of large North American mammals 2. From Topics to Questions 47 If you are a new researcher and get this far, congratulate your- self, because you have moved beyond the aimless collection of data.

But now, if you can, take one step more. They must have an answer to So what? Introduce this second implied question with in order to help my reader understand how, why, or whether: 1. Or: Is risk taking geneti- cally based? And if you are doing advanced research, you must take that step, because answering that last question is your ticket into the conversation of your community of researchers. Regularly test your progress by asking a roommate, relative, or friend to force you to? To summarize: Your aim is to explain 1. A q u i c k t i p : Finding Topics If you are a beginner, start with our suggestions about skimming bibliographical guides 3.

If you still draw a blank, try these steps. The less common, the better. Where would you like to travel? What particular aspect sur- prises you or makes you want to know more? Wander through a museum with exhibitions that appeal to you—artworks, dinosaurs, old cars. Stop when something catches your interest. What more do you want to know about it? Wander through a shopping mall or store, asking yourself, How do they make that? Or, I wonder who thought up that product? Leaf through a Sunday newspaper, especially its features sec- tions. Skim reviews of books or movies, in newspapers or on the Internet. Browse a large magazine rack. Look for trade magazines or those that cater to specialized interests.

Investigate whatever catches your interest. Read the posts, looking for something that surprises you or that you disagree with. Tune into talk radio or interview programs on TV until you hear a claim you disagree with. See whether you can make a case to refute it. Narrow the search to exclude dot-com sites. Is there a common belief that you suspect is simplistic or just wrong? Do research to make a case against it. What courses will you take in the future? What research would help you prepare for them? Browse through a textbook of a course that is one level beyond yours or a course that you know you will have to take.

Look especially hard at the study questions. Browse its ar- chives, looking for matters of controversy or uncertainty. Surf the Web sites of departments at major universities, in- cluding class sites. Also check sites of museums, national as- sociations, and government agencies, if they seem relevant. If you are an advanced researcher, you know how essential this step is. But if you are new to research, understanding its importance may prove challenging. These steps describe not only the development of your project, but your own as a researcher. At that point, you have posed a problem that they recognize needs a solution. Too many researchers at all levels write as if their only task is to answer a question that interests them alone.

They fail to understand that their answer must solve a problem that others in their community think needs a solution. Everyday research usually begins not with dreaming up a topic to think about but with a practical problem that, if you ignore it, means trouble. The Car Shoppe, East 55th Street. How many votes do I lose if I refuse? Do a survey. Most of my constituents support gun control.

I can reject the request. What changed? Increase in turnover. If we improve training and mo- rale, our workers will stick with us. Then on the basis of that better understanding, someone had to decide what to do to solve the practical problem, then report their re- search so that their solution could be shared and studied. Graphically, the relationship between practical and research problems looks like this: 4. We solve a practical problem by doing something or by encouraging others to do something that eliminates the cause of the problem or at least ameliorates its costs.

We solve a conceptual problem not by doing something to change the world but by answering a question that helps us understand it better. In our everyday world, a problem is something we try to avoid. But in academic research, a problem is something we seek out, even invent if we have to. Indeed, a researcher without a good conceptual problem to work on faces a bad practical problem, because without a re- search problem, a researcher is out of work. There is a second reason inexperienced researchers sometimes struggle with this notion of a research problem. Experienced re- searchers often talk about their work in shorthand.

When asked what they are working on, they often answer with what sounds like one of those general topics we warned you about: adult measles, mating calls of Wyoming elk, zeppelins in the s. As a result, some beginners think that having a topic to read about is the same as having a problem to solve. When they do, they create a big practical problem for them- selves, because without a research question to answer, with only a topic to guide their work, they gather data aimlessly and end- lessly, with no way of knowing when they have enough.

Then they struggle to decide what to include in their report and what not, usually throwing in everything, just to be on the safe side. That begins with understanding how conceptual problems work. But suppose you were bul- lied into the date and would rather be anywhere else. To be part of a practical, tangible problem, a condition can be any- thing, so long as it imposes intolerable costs. Suppose you win a million dollars in the lottery but owe a loan shark two million and your name gets in the paper. Winning the lottery turns out to be a Big Problem. To state a practical problem so that others understand it clearly, you must describe both its parts. Its condition: I missed the bus. The hole in the ozone layer is growing. Many will die from skin cancer.

So what you think is a problem, they might not. To make your problem their problem, you must frame it from their point of view, so that they see its costs to them. To do that, imagine that when you pose the condition part of your problem, your reader responds, So what? So what? You answer with the cost of the problem: A bigger hole exposes us to more ultraviolet light. Suppose he again asks, So what?

If, however improbably, he again asks, So what? We acknowledge a problem only when we stop asking So what? In academic research, how- ever, your problems will usually be conceptual ones, which are harder to grasp because both their conditions and costs are not palpable but abstract. You can identify the condition of a conceptual problem by com- pleting that three-step sentence 3. In the second step, the indi- rect question states the condition of a conceptual problem, what you do not know or understand: I am studying stories of the Alamo, because I want to understand why voters responded to them in ways that served the interests of Texas politicians.

A conceptual problem does not have such a tangible cost. The condition and the consequence of a conceptual problem are both questions: Q1 and Q2. But they fail to realize that researchers want to answer a ques- tion like that so that they can answer a second, more important one. For those who care about the way folk games in? From Questions to a Problem 59 4. When the solution to a research problem does have practical consequences, we call the research applied. Does it refer to knowing or doing? Topic: I am studying the electromagnetic radiation in a section of the universe 2.

That is pure research, because step 3 refers only to understanding. In an applied research problem, the second step refers to know- ing, but that third step refers to doing: 1. That is an applied problem because only when astronomers know how to account for atmospheric distortion can they do what they want to—measure light more accurately. Most readers would think that the link between steps 2 and 3 is a bit of a stretch. To formulate a useful applied research problem, you have to show that the answer to the indirect question in step 2 plausibly helps answer the indirect question in step 3. The answer would seem to be Yes. Now try the test on the Alamo problem: a If my readers want to protect themselves from unscrupulous politicians, b would they think they could if they knew how nineteenth- century politicians used stories about the Alamo to shape public opinion?

If you think that the solution to your conceptual problem might apply to a practical one, formulate your problem as the pure re- search problem it is, then add your application as a fourth step: 1. Potential Practical Application: so that readers might bet- ter protect themselves from unscrupulous politicians. Then wait until your conclusion to suggest its practical application. For more on this, see chapter Most research projects in the humanities and many in the nat- ural and social sciences have no direct application to daily life.

But as the term pure suggests, many researchers value such research more than they do applied. As you may have guessed, the three of us are deeply commit- ted to pure research, but also to applied—so long as the research is done well and is not corrupted by malign motives. That raises an ethical question that we touch on in our afterword on ethics. But you might help us better understand a small part of one, and that can move us closer to a practical solution. But researchers often begin a project without be- ing clear about what their real problem is.

Some researchers have even won fame for disproving a plausible hypoth- esis that they had set out to prove. Few of us can. But thinking about it early will save you hours of work along the way and per- haps panic toward the end. It also gets you into a frame of mind crucial to advanced work. Here are some ways you can aim for a problem from the start and along the way. Why would anyone want an answer to your question? What would they do with it? What new questions might an answer raise? Ask your teacher what she is working on and whether you can work on part of it.

Nothing discourages a teacher more than a student who does exactly what is suggested and no more. Teachers want you to use their suggestions to start your thinking, not end it. Where in them do you see contradictions, inconsistencies, incomplete ex- planations? Tentatively assume that other readers would or should feel the same. Countless research papers have refuted a point that no one ever made. Be- fore you correct a source, reread it carefully. If a source says X and you think Y, you may have a research problem, but only if you can show that those who misunderstand X misunderstand some larger issue, as well. Finally, read the last few pages of your sources closely.

We usually do our best thinking in the last few pages we write. If in an early draft you arrive at an unanticipated claim, ask yourself what question it might answer. Paradoxical as it might seem, you may have answered a question that you have not yet asked, and thereby solved a problem that you have not yet posed. A still bigger dream is to solve a problem that no one even knew they had.

But your teachers do want you to practice the mental habits that prepare you for that moment. That means doing more than just accumu- lating and reporting facts. But in business and gov- ernment, in law and medicine, in politics and international diplo- macy, no skill is valued more highly than the ability to recognize a problem, then to articulate it in a way that convinces others both to care about it and to believe it can be solved, especially by you.

We three authors have felt those anxieties, not just starting out, but long after our hair had grayed. Keep a journal in which you re? They want you to succeed, and you can expect their help. If you are more experienced, you might skip to the next chapter; if you are very experienced, skip to part III. But if you have a question and at least one promising answer the phi- losopher C. Peirce called it a hypothesis on probation , you can start looking for data to test it. To do that e;ciently, you need a plan. If you plunge into any and all sources on your topic, you risk losing yourself in an end- less trail of books and articles.

Le varie segnature vengono rilegate per ottenere il volume. L'apertura delle pagine, specialmente nelle edizioni in brossura , era di solito lasciata al lettore fino agli anni sessanta del XX secolo , mentre ora le segnature vengono rifilate direttamente dalla tipografia. Nei libri antichi il formato dipende dal numero di piegature che il foglio subisce e, quindi, dal numero di carte e pagine stampate sul foglio. Le "carte di guardia", o risguardi, o sguardie, sono le carte di apertura e chiusura del libro vero e proprio, che collegano materialmente il corpo del libro alla coperta o legatura.

Non facendo parte delle segnature , non sono mai contati come pagine. Si chiama "controguardia" la carta che viene incollata su ciascun "contropiatto" la parte interna del "piatto" della coperta, permettendone il definitivo ancoraggio. Le sguardie sono solitamente di carta diversa da quella dell'interno del volume e possono essere bianche, colorate o decorate con motivi di fantasia nei libri antichi erano marmorizzate. Il colophon o colofone, che chiude il volume, riporta le informazioni essenziali sullo stampatore e sul luogo e la data di stampa.

In origine nei manoscritti era costituito dalla firma o subscriptio del copista o dello scriba, e riportava data, luogo e autore del testo; in seguito fu la formula conclusiva dei libri stampati nel XV e XVI secolo, che conteneva, talvolta in inchiostro rosso, il nome dello stampatore, luogo e data di stampa e l' insegna dell'editore. Sopravvive ancor oggi, soprattutto con la dicitura Finito di stampare.

Nel libro antico poteva essere rivestita di svariati materiali: pergamena, cuoio, tela, carta e costituita in legno o cartone. Poteva essere decorata con impressioni a secco o dorature. Ciascuno dei due cartoni che costituiscono la copertina viene chiamato piatto. Nel XIX secolo la coperta acquista una prevalente funzione promozionale. Ha caratterizzato a lungo l'editoria per l'infanzia e oggi, ricoperto da una "sovraccoperta", costituisce il tratto caratteristico delle edizioni maggiori.

Le "alette" o "bandelle" comunemente dette "risvolti di copertina" sono le piegature interne della copertina o della sovraccoperta vedi infra. Generalmente vengono utilizzate per una succinta introduzione al testo e per notizie biografiche essenziali sull'autore. Di norma, riporta le indicazioni di titolo e autore. I libri con copertina cartonata in genere sono rivestiti da una "sovraccoperta". Oltre al taglio "superiore" o di "testa" vi sono il taglio esterno, detto "davanti" o "concavo" , e il taglio inferiore, detto "piede". I tagli possono essere al naturale, decorati o colorati in vario modo.

In questi ultimi casi, si parla di "taglio colore", nel passato usati per distinguere i libri religiosi o di valore dalla restante produzione editoriale, utilizzando una spugna imbevuta di inchiostri all' anilina anni del XX secolo. Riporta solitamente titolo, autore, e editore del libro. Sovente riporta un motto. Assente nel libro antico. I primi incunaboli e manoscritti non avevano il frontespizio, ma si aprivano con una carta bianca con funzione protettiva.

Nel XVII secolo cede la parte decorativa all' antiporta e vi compaiono le indicazioni di carattere pubblicitario riferite all'editore, un tempo riservate al colophon. In epoca moderna, le illustrazioni e parte delle informazioni si sono trasferite sulla copertina o sulla sovraccoperta e altre informazioni nel verso del frontespizio. Nel libro antico i "nervi" sono i supporti di cucitura dei fascicoli. I nervi possono essere lasciati a vista e messi in evidenza attraverso la "staffilatura" , oppure nascosti in modo da ottenere un dorso liscio. Nel libro moderno i nervi sono di norma finti, apposti per imitare l'estetica del libro antico e conferire importanza al libro. Se esse fanno parte integrante del testo sono chiamate illustrazioni.

Esse hanno una numerazione di pagina distinta da quella del testo; vengono impresse su una carta speciale, quasi sempre una carta patinata. Altri progetti. Da Wikipedia, l'enciclopedia libera. Disambiguazione — "Libri" rimanda qui. Se stai cercando altri significati, vedi Libri disambigua. Disambiguazione — Se stai cercando altri significati, vedi Libro disambigua. Pagina del Codex Argenteus. Storia, tecnica, strutture.

Arma di Taggia, Atene, , p. All ,, of you. URL consultato il 15 agosto There are ,, of them. At least until Sunday. URL consultato il 5 giugno Scribes, Script and Books , p. Dover Publications , p. Libro VI, capitolo Cambridge University Press , pp. Casson, op. Solo codici venivano usati dai cristiani per far copie delle Sacre Scritture e anche per altri scritti religiosi. Gli undici codici biblici di questo periodo sei con la Septuaginta e cinque con parti del Nuovo Testamento sono su codici.

Colin H. Roberts e T. ISBN Hagedorn et al. Blanchard cur. Ritrovamenti del III secolo : di cui 15 sono codici greci di pergamena e 2 latini di pergamena; IV secolo : di cui 56 in pergamena; V secolo : di cui 46 in pergamena. Willis su Greek, Roman, and Byzantine Studies , p. Scribes, Script and Books , pp. Saint Benedict and His Monks. Rocky Fortune , a "footloose and fancy free" temporary worker for the Gridley Employment Agency who stumbles into crime-solving. During the show, he performed a duet with Presley, who sang Sinatra's hit " Witchcraft " with the host performing the Presley classic " Love Me Tender ". Sinatra had previously been highly critical of Elvis Presley and rock and roll in the s, describing it as a "deplorable, a rancid smelling aphrodisiac" which "fosters almost totally negative and destructive reactions in young people.

The TV special was highlighted by a dramatic reading of " Send in the Clowns " and a song-and-dance sequence with former co-star Gene Kelly. Sinatra starred as a detective in Contract on Cherry Street , cited as his "one starring role in a dramatic television film". Sinatra had three children, Nancy born , Frank Jr. Sinatra had met Barbato in Long Branch, New Jersey in the summer of , [] while working as a lifeguard. He couldn't help it. Just to look at him—the way he moved, and how he behaved—was to know that he was a great lover and true gentleman. He adored the company of women and knew how to treat them. I had friends whose husbands were 'players', and every time the husbands had affairs my friends were showered with gifts.

Well, I was constantly showered with gifts, but no matter what temptations Frank may have had while I wasn't around, he made me feel so safe and loved that I never became paranoid about losing him. Sinatra was married to Hollywood actress Ava Gardner from to It was a turbulent marriage with many well-publicized fights and altercations. Sinatra reportedly broke off engagements to Lauren Bacall in [] and Juliet Prowse in Sinatra was married to Barbara Marx from until his death. Though Sinatra was critical of the church on numerous occasions [] and had a pantheistic, Einstein-like view of God in his earlier life, [] he was inducted into the Catholic Sovereign Military Order of Malta in , [] and he turned to Roman Catholicism for healing after his mother died in a plane crash in He died as a practicing Catholic and had a Catholic burial.

Sinatra was known for his immaculate sense of style. For Santopietro, Sinatra was the personification of America in the s: "cocky, eye on the main chance, optimistic, and full of the sense of possibility". Sinatra's mood swings often developed into violence, directed at people he felt had crossed him, particularly journalists who gave him scathing reviews, publicists, and photographers. His feud with then- Chicago Sun Times columnist Mike Royko began when Royko wrote a column questioning why Chicago police offered free protection to Sinatra when the singer had his own security.

The winner of the auction was Vie Carlson, mother of Bun E. Carlos of the rock group Cheap Trick. Sinatra was also known for his generosity, [] particularly after his comeback. Kelley notes that when Lee J. Cobb nearly died from a heart attack in June , Sinatra flooded him with "books, flowers, delicacies", paid his hospital bills, and visited him daily, telling him that his "finest acting" was yet to come. Sinatra became the stereotype of the "tough working-class Italian American", something which he embraced.

He said that if it had not been for his interest in music, he would have likely ended up in a life of crime. One newspaper published the headline "Shame, Sinatra". The FBI kept records amounting to 2, pages on Sinatra, who was a natural target with his alleged Mafia ties, his ardent New Deal politics, and his friendship with John F. The documents include accounts of Sinatra as the target of death threats and extortion schemes. Kennedy was leading a crackdown on organized crime. By , he reportedly held a percent share in the hotel. Sinatra held differing political views throughout his life. Roosevelt in , he subsequently heavily campaigned for the Democrats in the presidential election.

In November Sinatra was invited by the mayor of Gary, Indiana , to try to settle a strike by white students of Froebel High School against the "Pro-Negro" policies of the new principal. Of all the U. Edgar Hoover to conduct even more crackdowns on the Mafia, [] was even more distrustful of Sinatra. In , Sinatra's friendship with Kennedy, whom he first met in the s, officially ended when Kennedy officially decided to remove Sinatra, who never shook off rumors of affiliation with the Mafia, [] from his "gang.

Sinatra worked with Hubert H. Humphrey in , [] and remained a supporter of the Democratic Party until the early s. Santopietro notes that Sinatra was a "lifelong sympathizer with Jewish causes ". From his youth, Sinatra displayed sympathy for African Americans and worked both publicly and privately all his life to help the struggle for equal rights. He blamed racial prejudice on the parents of children. According to his son, Frank Jr. Sinatra died at Cedars-Sinai Medical Center in Los Angeles on May 14, , aged 82, with his wife and 3 children at his side, after suffering two heart attacks. He also suffered from dementia -like symptoms due to his usage of antidepressants. Barbara would be the grieving widow alone at her husband's side.

Sinatra's funeral was held at the Roman Catholic Church of the Good Shepherd in Beverly Hills, California , on May 20, , with mourners in attendance and thousands of fans outside. Robert Christgau referred to Sinatra as "the greatest singer of the 20th century". Santopietro argues that Sinatra created his own world, which he was able to dominate—his career was centred around power, perfecting the ability to capture an audience. Through his life and his art, he transcended the status of mere icon to become one of the most recognizable symbols of American culture. Gus Levene commented that Sinatra's strength was that when it came to lyrics, telling a story musically, Sinatra displayed a "genius" ability and feeling, which with the "rare combination of voice and showmanship" made him the "original singer" which others who followed most tried to emulate.

He quoted reporter James Bacon in saying that Sinatra was the "swinging image on which the town is built", adding that no other entertainer quite "embodied the glamour" associated with Las Vegas as him. There are stars on east and west sides of the block of Vine Street respectively, and one on the south side of the block of Hollywood Boulevard for his work in television. De Sapio on October 30, Sinatra received three Honorary Degrees during his lifetime. It was at this commencement that he was bestowed an Honorary Doctorate litterarum humanarum by the university. He went on to describe that "this is the first educational degree I have ever held in my hand.

I will never forget what you have done for me today". Sinatra has been portrayed on numerous occasions in film and television. Sinatra was convinced that Johnny Fontane, a mob-associated singer in Mario Puzo 's novel The Godfather , was based on his life. Puzo wrote in that when the author and singer met in Chasen's , Sinatra "started to shout abuse", calling Puzo a "pimp" and threatening physical violence. Francis Ford Coppola , director of the film adaptation , said in the audio commentary that "Obviously Johnny Fontane was inspired by a kind of Frank Sinatra character".

President Ronald Reagan. From Wikipedia, the free encyclopedia. American singer and actor. For other uses, see Sinatra disambiguation. Sinatra, circa October , during recording of the album Come Fly with Me. Hoboken, New Jersey , U. Los Angeles , California , U. Nancy Barbato. Ava Gardner. Mia Farrow. Barbara Marx. Nancy Frank Jr. Antonino Martino Sinatra Natalina Garaventa. Traditional pop easy listening jazz swing vocal jazz. Musical artist. Main article: Early life of Frank Sinatra. Main article: Frank Sinatra discography. Play media. See also: Frank Sinatra filmography. Sinatra as Maggio in From Here to Eternity. Sinatra at the 26th Academy Awards. See also: Personal life of Frank Sinatra. Main article: Political life of Frank Sinatra. See also: List of awards and nominations received by Frank Sinatra.

Sinatra, c. In May , he officially corrected the name on his birth certificate to "Francis A. Dolly and Marty ran a tavern during those years, allowed to operate openly by local officials who refused to enforce the law. Dolly said of it, "My son is like me. You cross him, he never forgets. Mane wrote "Frank Sinatra" on the record label and kept the recording in a drawer through the years, giving Sinatra a copy on a cassette tape as a gift in Mane died in , only months after Sinatra's death; in , Mane's widow offered the recording for sale through Gurnsey's auction house in New York.

James actually knew Ray Sinatra, so he did not press the issue. In one incident witnessed by Stafford backstage at the Astor Hotel in New York, Rich called Sinatra a name and Sinatra threw a heavy glass pitcher filled with water and ice at Rich's head. In the open field, you might say, were some awfully good singers with the orchestras. Bob Eberly with Jimmy Dorsey was a fabulous vocalist.

Como with Ted Weems is such a wonderful singer. I thought, if I don't make a move out of this and try to do it on my own soon, one of those guys will do it, and I'll have to fight all three of them to get a position". Joseph Ross in Los Angeles in August Kelley says that his articles grew so offensive that Sinatra pounced on him outside Ciro's and punched him behind the left ear in response to an insult in which he was called a "dago". Sinatra was taken to court, and according to Kelley, Mortimer received Mafia threats to drop the case or lose his life.

Miller thought he would try this novelty approach for Sinatra because he felt the singer's "great records" weren't selling. His friend, Jimmy Van Heusen, convinced him that the song would be a success. Their feud grew worse when Melcher suggested that Day sing "Young at Heart" as the film's title song when Sinatra's recording of the song was already a hit. Day conceded that she did not care whose voice was heard singing the film's title song. Because of the rift, the Young at Heart soundtrack album contains all the songs heard in the film but the title Young at Heart.

Sinatra's hit recording is heard at the beginning and end of the film. She says that though he was not formally banned from the country, the bureaucrat "made it seem so" and stated that the situation caused much humiliation to the family. Witnesses to the incident said the two men both made threats, with Waterman producing a gun and pointing it at Sinatra. Sinatra walked out of the casino and returned to his Palm Springs home without fulfilling the rest of his three-week engagement there.

Waterman was booked on a charge of assault with a deadly weapon, but was released without bail. Refusing to make "two pictures for the price of one", he left the production and did not return. Fox initially sued Sinatra for a million dollars for breach of contract and replaced him with Gordon MacRae. Fox agreed to drop the claim on condition that he appear in another picture of theirs. Sponsored by American Tobacco Company's Lucky Strike brand of cigarettes, the show featured the top ten songs of each week. He often started shouting about this on the set of the television show when he phoned his home and could not reach Gardner.

Mansfield had to communicate with Sinatra through the entourage that always accompanied him to CBS. Sinatra was always late to work and did not care to spend any time at rehearsal; he blamed all those connected with the program for the poor ratings it received. Mansfield was at his wits' end with Sinatra and his television show and quit the program. Mansfield informed him that he was man of great talent but a failure as a person, which led to Sinatra attempting to angrily fire him. Mansfield replied that he was too late, as he had resigned that morning. After Della Penta attempted to tear off Barbato's dress, Sinatra ordered Barbato away and told Della Pinta that he would marry Barbato, several years his junior, because she was pregnant.

Della Penta went to the police, and Sinatra was arrested on a morals charge for seduction. Go home and take a bath You're nothing but a two-dollar cunt. You know what that means, don't you? You've been laying down for two dollars all your life". According to Rojek, Sinatra then proceeded to place two-dollar bills in her wine glass and remarked, "Here's two dollars, baby, that's what you're used to".

The two men never spoke again. Kennedy , was intensifying his own investigations into organized crime figures such as Chicago mob boss Sam Giancana, who had earlier stayed at Sinatra's home. Kennedy was strongly advised by Henry Petersen , a senior official of the Justice Department, to avoid staying with Sinatra. Evening Standard. Retrieved June 21, Retrieved June 26, Retrieved January 10, BBC News. May 16, Retrieved May 15, The Jersey Journal. March 31, Retrieved October 6, Google Maps. Retrieved October 12, Phoenix New Times. Retrieved September 28, The New York Times. Retrieved September 1, November 20, Rolling Stone.

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