Unrsquo;organizzazione terroristica; capitanata dallo sceicco Saadamir; fa irruzione in una scuola di Milano; uccide i docenti e prende in ostaggio tutti i ragazzi. Da quel momento; ogni mattina; un soldato entreragrave; in una classe; consulteragrave; lrsquo;elenco degli studenti e pronunceragrave; a voce alta un nome. Per il ragazzo in questione si tratteragrave; dellrsquo;ultimo appello; percheacute; ascoltare il proprio nome significheragrave; la condanna a morte. Questo saragrave; il programma da portare avanti fino a quando il governo italiano non avragrave; concesso a Saadamir lrsquo;uso del grosso giacimento di petrolio nascosto proprio sotto la scuola.In un gioco al cardiopalma; vivremo le emozioni e le vicende di un gruppo di amici che cercheranno di lottare contro un male inarginabile. Lrsquo;unica speranza che terragrave; alto lrsquo;animo di Alessio; Angela; Patrick e Letizia; saragrave; la fede; che daragrave; loro manforte durante lrsquo;escalation che li condurragrave; in questa incredibile avventura.
#258200 in eBooks 2015-11-30 2015-11-30File Name: B01ASDN848
Review
2 of 2 people found the following review helpful. Less a History; More of a One Volume EncyclopediaBy Carl E. Johnson Jr.The authors provide us with lots of information about crafters; but historical mostly only in that the information is arranged by decades. Thus; theres a chapter on 1900-1909; followed by one on 1910-1919; and so on by decade through the 90s. Within each decade the material is organized by medium; e.g.; wood; clay and so on. Then; within the medium within the decade youve got short descriptions of the lives and work of significant crafters. To pick a well-known maker; Dale Chihulys earlier work covered in Chapter 9; the 70s; and later work in Chapter 10; the 80s. An opening chapter surveys the "roots of studio craft."Moreover; the authors work seems uneven; with some crafters being covered more carefully than others; without much reason as far as I can tell; that is; without sufficient explanation from the authors. A somewhat more negative way of saying this is that certain of the artists seem to be included simply as fillers. Most artists are favored with one or sometimes two high quality pictures of their work; but for others youve got to conger an image yourself; or; better; research independently.In short; I thought I was buying a book with an greater emphasis on historical development and critical analysis of the studio craft movement; which to my way of looking at it; the book is not. I had expected a somewhat more academic approach; and am grading the book (three stars) against that expectation. Still; as a reference book and an organizational tool I believe that it will remain; for me; a very useful single volume.28 of 30 people found the following review helpful. too much art critic; not enough scholarBy Doug AndersonWhen it was announced that Bruce Metcalf would team up with Janet Koplos on this very important project; we were curious as to the decision as Ms. Koplos has a long held; very verbal prejudice against the world of glass. 20 years ago; the Art Alliance For Contemporary Glass funded Glass Magazine to commission critical essays by art critics as a way to get them to do research into the emerging world of artists using glass as an art-making medium. Janet Koplos was commissioned and what she had to say was that THERE ARE NO PEOPLE WORKING IN GLASS WHOSE WORK RISES TO THE LEVEL OF ART. She was talking about the 20 - 25 people she now covers in this book. 5 years ago; when William Warmus did a major show of art made from glass at the Norton Museum; Palm Beach; we invited Ms. Koplos to come as our guest to see how wrong she was. She declined saying that NOTHING HAD CHANGED.I bought this beautiful; large book to see how it came out and spent yesterday reading the parts about glass. I was pleased to see that many of the short pieces written about the glass people were accurate and not written from the perspective of an art critic............but some were. Let me say; however; that what was written wasnt very informative.What shocked me; but it wasnt a surprise; were the entries about Dale Chihuly; William Morris and MichaelGlancy. Ms. Koplos just couldnt get through this project without her critics barbed tongue. Instead of talking about Chihuly as the engine that powered the Studio Glass Movement. Instead of talking about how he developed a vocabulary with his small work and let it take him naturally into his designs for grand installations. Instead of writing about the huge community of glass craftsmen who followed him to Seattle and worked for him over the years as they honed their skills; she concentrates on the economics of his business and the Disneyland effect of some of his major installations that have drawn millions of people. She never even covers "Chihuly Over Venice" or "Chihuly In The Light Of Jerusalem" which were spectacular projects. I guess Ms. Koplos just cant get over people who begin in the Studio Crafts Movement and who use their skills to break out into the art world. Maybe it has to do with money. Maybe Ms. Koplos is more comfortable with potters and weavers who eek out a living and uncomfortable with "craftspeople" who work in the world of large money where their work commands hundreds of thousands of dollars. But thats something for her to deal with...............but not in this book.As for her review of William Morris who she says is probably the most skillful gaffer of his time; its horrifying to read "praised by his apologists as a spriitual sensitive man. It is an image hard to reconcile with the marketing of a hunky glassblower. Being photographed in tank tops to muscular advantage in the hot shop.......". Give me a break. And the idea that the limited work from his Canopic Jar series commands more than a quarter of a million dollars ruins it for Ms. Koplos again; because shes more comfortable in the company of craftspeople who havent "made it".Given this kind of personal prejudice; its hard for me to want to really read this book in its entirety but I shall in the coming weeks.So how do I rate this book........"In the land of the blind; the one-eyed man is king". Jansen it aint.DOUG ANDERSONdoug@d2anderson.com6 of 7 people found the following review helpful. A must read for aspiring makersBy Paul StankardI just finished listening/reading "Makers: A History of American Studio Craft" and felt fortunate it was available to download to my Kindle. Thank you; .This book was a long read and well worth the two month journey into the craft highlands on the path of originality. "Makers" represents a herculean effort that identifies the flow of significant objects evidencing a thriving creative culture across the twentieth century. This 529 page book could have been more attractive if produced in two volumes with additional images and information beyond who studied with who at what college. I would have enjoyed reading personal accounts from the artists still living; especially regarding the challenges and obstacles associated with establishing an audience and promoting ones work in the art/craft community. However; the book is a scholarly overview of the craft art scene that will have a major impact on the American art landscape; if for no other reason than promoting the diversity of personal visions executed with the highest standards of artistic integrity. I wish this type of book was available when I was starting in glass. For anyone interested in a career in the studio crafts environment; "Makers" is a must read.Paul Stankard; Glass Maker
