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'Among the most moving documents I have read in years ... You will not forget it' Elie Wiesel From her small, sunny hometown between the beautiful Carpathian Mountains and the blue Danube River, Elli Friedmann was taken - at a time when most girls are growing up, having boyfriends and embarking upon the adventure of life - and thrown into the murderous hell of Hitler's Final Solution. When Elli emerged from Auschwitz and Dachau just over a year later, she was fourteen. She looked like a sixty year old. This account of horrifyingly brutal inhumanity - and dogged survival - is Elli's true story.
This is the first critical edition with English translation of the prose compilation Tristano panciatichiano, preserved in a unique manuscript in the Biblioteca Nazionale of Florence (MS Panc. 33); it is the first time the Italian text has been published in its entirety in any form. Assembled by the mid-fourteenth century, the manuscript is an original compilation in Italian based on several French models: the Queste del San Graal, Joseph d'Arimathie, the Mort Artu, and notably, the Roman de Tristan en prose. While the edition itself will be of great interest, the translation into English is a major opportunity for Arthurians and other medievalists, and furnishes important new evidence for the study of Arthurian material in Italy. Apparatus includes a finding list of Arthurian manuscripts produced, owned or read by Italians; a select bibliography; and an index of proper names found in the narrative.
The first monograph on the Vita Humana cycle at Tre Fontane, this book includes an overview of the medieval history of the Roman Cistercian abbey and its architecture, as well as a consideration of the political and cultural standing of the abbey both within Papal Rome and within the Cistercian order. It considers the commission of the fresco cycle, the circumstances of its making and its position within the art historical context of the Roman Duecento. Examining the unusual blend of images in the Vita Humana cycle, this study offers a more nuanced picture of the iconographic repertoire of medieval art.
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