The word "man" is correct and usable in written English.
You can use the word "man" to refer to any adult male human being, either in singular or plural form. For example: "That man is wearing a blue shirt."
The palace's owner, Prince Vanni Calvello di San Vincenzo, would later be arrested as a uomo d'onore.
A cultured amateur, modest and self-effacing, he took as his model the Renaissance uomo universale ("universal man").
One of his best-known and most frequently translated books is the autobiographical novel Un uomo finito (1912; A Man Finished; U.S. title, The Failure), a candid account of his early years in Florence and his desires for ideological certainty and personal achievement.
Although it is unlikely that he actually tested his idea, a drawing by da Vinci in the codex shows a pyramid-shaped parachute and is accompanied by the following text: Se un uomo ha un padiglione de pannolino intasato, che sia 12 braccia per faccia e alto 12, potrà gittarsi d'ogni grande altezza senza danno di sé.
Se un uomo ha un padiglione de pannolino intasato, che sia 12 braccia per faccia e alto 12, potrà gittarsi d'ogni grande altezza senza danno di sé.
According to the latest insights, however, these works must be seen, on the one hand, as portraits of an uomo famoso ("famous man") and, on the other hand, as specimens of the reason for that fame: Rembrandt's singular style and his exceptional technique in painting and etching.
Un uomo da bruciare (1962; A Man for the Burning), made with Orsini's collaboration, was their first feature film.
Levi's first book, Se questo è un uomo (1947; If This Is a Man, or Survival in Auschwitz), demonstrated extraordinary qualities of humanity and detachment in its analysis of the atrocities he had witnessed.
Bertolucci's later films included the grandly scaled Novecento (1976 19000), the intimate Luna (1979; "Moon"), and La tragedia di un uomo ridicolo (1981; The Tragedy of a Ridiculous Man).
The MSI was formed in 1946 by supporters of former Italian leader Benito Mussolini from elements of the defunct Uomo Qualunque (Average Man) Party that had appeared in 1945.
Jacob is pure cartoon, a Uomo Vogue supplement on Alexander McQueen-clad legs, but where the film could have had fun dismantling this narcissistic cod-icon, it does something much less interesting – it humanises him, making Gosling drop the strut for bashful I-love-you-guys grins at the end.
