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Qual è la cosa più strana che avresti voluto sapere sul pene, ma non hai mai avuto il coraggio di chiedere? Il dottor Aaron Spitz ha questa risposta e molte altre. Tradizionalmente oggetto di battute e doppi sensi, il pene è spesso incompreso, calunniato e maltrattato... Domande, preoccupazioni e tabù sull'argomento sono qualcosa di trasversale che tocca tutte le classi sociali, le razze e i generi. Come è fatto? Perché fa questo? Perché non fa quest’altro? Deve davvero essere così? Il dottor Spitz, professore clinico aggiunto presso il Dipartimento di Urologia della UC Irvine per quindici anni e ospite fisso di The Doctors, famoso talk show televisivo trasmesso da CBS, soddisferà ogni curiosità e vi guiderà attraverso le questioni più preoccupanti e spinose sull'argomento. Il libro del pene felice affronta con chiarezza e un pizzico di umorismo tutte le questioni che riguardano questo importante organo, dalle infezioni trasmesse sessualmente alla scienza del flusso sanguigno, e propone un piano olistico in cinque fasi per la sua salute ottimale, che comprende raccomandazioni di alimentazione naturale, informazioni sui cibi più salutari ed esercizi mirati volti a garantirne efficienze e benessere. Utile e molto interessante sia per gli uomini che per le donne, Il libro del pene felice è lo strumento ideale per conoscere e curare questa importante parte del corpo maschile.
Je tiens egalement a remercier l'editeur KLUWER que nous a garanti une pu blication aisee et attrayante. Ce n'est pas sans fierte que j'ai l'honneur d'introduire la presente edition des actes du congres. PREFACE In the text mentioned above, it has been stated that the texts of the General Rap porteurs were published in their original language and the texts of the opening and closing speeches, although they were made in the five Congress languages (Dutch, French, English, German and Spanish), were published in English, as the Belgian organisers deemed this to be the most rational solution, even though the Con gress took place in a country where three different languages (Dutch, French and German) are spoken there. As regards the publication of this book, I would like to thank Mrs. CAS MAN, who made the texts ready for printing, Profe~sor R. DE CORTE, who saw to the distribution of the texts during the Congress, and the KLUWER publishing com pany for their excellent and faultless publication. I cannot stifle a distinct feeling of pride at being privileged enough to introduce this publication of the Reports. VORWORT Im vorstehenden Text is erortert worden aus welchen GrUnden die Gesamt berichte in ihren originellen Sprachen veroffentlicht wurden, und die Texte der feierlichen Eroffnungssitzung und der Schluss-sitzung im Englischen, obwohl diese verfasst wurden in den fiinf Kongressprachen (Deutsch, Englisch, Fran zosisch, NiederHindisch und Spanisch) und obgleich der Kongress veranstaltet wurde in einem Land wo es drei Sprachen (Niederliindisch, Franzosich und Deutsch) gibt.
Venetian music print culture of the mid-sixteenth century is presented here through a study of the Scotto press, one of the foremost dynastic music publishers of the Renaissance. For over a century, the house of Scotto played a pivotal role in the international book trade, publishing in a variety of fields including philosophy, medicine, religion, and music. This book examines the mercantile activities of the firm through both a historical study, which illuminates the wide world of the Venetian music printing industry, and a catalog, which details the music editions brought out by the firm during its most productive period. A valuable reference work, this book not only enhances our understanding of the socioeconomic and cultural history of Renaissance Venice, it also helps to preserve our knowledge of a vast musical repertory.
Italian sermons tell a story of the Reformation that credits preachers with using the pulpit, pen, and printing press to keep Italy Catholic when the region’s violent religious wars made the future uncertain, and with fashioning a post-Reformation Catholicism that would survive the competition and religious choice of their own time and ours.
Franz Kafka met Felice Bauer in August 1912, at the home of his friend Max Brod. Energetic, down-to-earth, and life-affirming, the twenty-five-year-old secretary was everything Kafka was not, and he was instantly smitten. Because he was living in Prague and she in Berlin, his courtship was largely an epistolary one—passionate, self-deprecating, and anxious letters sent almost daily, sometimes even two or three times a day. But soon after their engagement was announced in 1914, Kafka began to worry that marriage would interfere with his writing and his need for solitude. The more than five hundred letters Kafka wrote to Felice—through their breakup, a second engagement in 1917, and their final parting in the fall of that year, when Kafka began to feel the effects of the tuberculosis that would eventually claim his life—reveal the full measure of his inner turmoil as he tried, in vain, to balance his desire for human connection with what he felt were the solitary demands of his craft.