Editoriale a cura di Maurizio Ghelardi e Daniela Sacco. Maurizio Ghelardi, Edgar Wind, Percy Schramm e il Warburg-Kreis. Sui concetti di Nachleben, renovatio, correctio. Ianick Takaes, The Demented, the Demonic, and the Drunkard. Edgar Wind’s Anarchic Art Theory. Adrian Rifkin, Mnemosyne, Itself. Elizabeth Sears, Warburg and Steinmann as Forschertypen. Lucrezia Not, La complessa vicenda editoriale di Saturno e la melanconia. Quattro lettere inedite del carteggio Einaudi-Warburg Institute. Lucas Burkart, “Le fantasticherie di alcuni confratelli amanti dell’arte...”. Sulla situazione della Biblioteca Warburg per la Scienza della Cultura tra il 1929 e il 1933, traduzione di Costanza Giannaccini. Roberto Ohrt e Axel Heil, Sul Nachleben di Mnemosyne.Bilderatlas Mnemosyne-The Original. Eine Konflikt Geschichte. Interview with Roberto Ohrt, on the exhibition in Berlin. Interview by Bianca Maria Fasiolo Neville Rowley, Atlas redux.
This monograph is the first book-length study on Old High German syntax from a generative perspective in twenty years. It provides an in-depth exploration of the Old High German pre-verb-second grammar by answering the following questions: To what extent did generalized verb movement exist in Old High German? Was there already obligatory XP-movement to the left periphery in declarative root clauses? What deviations from the linear verb-second restriction are attested and what do such phenomena reveal about the structure of the left sentence periphery? Did verb placement play the same role in sentence typing as in the modern verb-second languages? A further major topic is null subjects: It is claimed that Old High German was a partial pro-drop language. All these issues are addressed from a comparative-diachronic perspective by integrating research on other Old Germanic languages, in particular on Old English and Gothic. This book is of interest to all those working in the fields of comparative Germanic syntax and historical linguistics.
Zionism, the German Empire, and Africa explores the impact on the self-perception and culture of early Zionism of contemporary constructions of racial difference and of the experience of colonialism in imperial Germany. More specifically, interrogating in a comparative analysis material ranging from mainstream satirical magazines and cartoons to literary, aesthetic, and journalistic texts, advertisements, postcards and photographs, monuments and campaign medals, ethnographic exhibitions and publications, popular entertainment, political speeches, and parliamentary reports, the book situates the short-lived but influential Zionist satirical magazine Schlemiel (1903–07) in an extensive network of nodal clusters of varying and shifting significance and with differently developed strains of cohesion or juncture that roughly encompasses the three decades from 1890 to 1920.
From intimate portrayals of ordinary Germans and Nazi leaders to immersive spectacles of war and defeat, this study argues that, since 1990, German film has focused on portraying the Nazi past from within.
What does it mean for poetry and music to turn to each other, in the shadow of the Holocaust, as a means of aesthetic self-reflection? How can their mutual mirroring, of such paramount importance to German Romanticism, be reconfigured to retain its validity after the Second World War? These are the core questions of Axel Englund's book, which is the first to address the topic of Paul Celan and music. Celan, a Jewish Holocaust survivor who has long been recognized as one of the most important poets of the German language, persistently evoked music and song in his oeuvre, from the juvenilia to the posthumous collections. Conversely, few post-war writers have inspired as large a body of contemporary music, including works by Harrison Birtwistle, György Kurtág, Wolfgang Rihm, Peter Ruzicka and many others. Through rich close readings of poems and musical compositions, Englund's book engages the artistic media in a critical dialogue about the conditions of their existence. In so doing, it reveals their intersection as a site of profound conflict, where the very possibility of musical and poetic meaning is at stake, and confrontations of aesthetic transcendentality and historical remembrance are played out in the wake of twentieth-century trauma.
This book traces Danish-Greenlandic relations in the period 1900-2000. The main trend is the development from a colonial situation in 1900 with a state owned company runnig nearly all business to an open economy with steadily growing self-government for Greenland short of full independence. The Danish policy can be described as benevolent, but financially the budget was tight until after the second World War, the philosophy being that Denmark should neither lose nor gain. After the war there was heavy investment to bring Greenland nearer to standards of living comparable to Denmark and substantial subsidies were given make that happen. The Greenlanders attitude towards Denmark developed along lines familiar from other examples of decolonisation. The first phase of accepting the coloniser was long over, now seeking equality with the coloniser was the main aim in their endeavours. From 1911 two provincial councils woiced speaking the Greenlanders views and their political influence steadily grew. In 1953 Greenland got representation in the Danish parliament. The third phase of doing without the coloniser began in the early 1970s when Greenlanders sought home rule status, obtained in 1979. In the following twenty years the Home Rule Authority gradually took over nearly all lawmaking and administration and from 2004 a committee has explored ways of giving Greenland a more independent voice in foreign affairs. In 2003 the ultimate goal was declared to be full independence.
Before she achieved immortality on the long-running situation comedy Bewitched, Agnes Moorehead had established a distinguished career as a character actress. After her screen debut in Citizen Kane (1941), Moorehead became one of the most familiar female faces on the silver screen. For moviegoers of the 1940s and ‘50s, she was the quintessential character actress, earning four Academy Award nominations during a career that saw her gain the respect of her peers in all four major entertainment media: radio, film, theater, and television. In The Films of Agnes Moorehead, Axel Nissen looks at the actress’s sixty-three feature films between 1941 and 1973. Each film is profiled here, with particular emphasis placed on the films that merit closer attention: Citizen Kane, The Magnificent Ambersons, Mrs. Parkington, Dark Passage, All That Heaven Allows, The Left Hand of God, The Swan, Tempest, The Bat, and Hush… Hush, Sweet Charlotte. Arranged in chronological order, the discussion of these films highlights Moorehead’s contribution to each feature. In addition to analyzing her performances, the author discusses the development of Moorehead’s career as a whole, along with her relationship with various studios, directors, producers, and fellow actors. Based on extensive interviews with the actress’s surviving friends and co-workers, as well as detailed archival research into primary sources, this book brings to light new information not just about Moorehead’s work in film, but on her life and career in general. Though this book will certainly appeal to movie buffs, The Films of Agnes Moorehead will also be of interest to students and scholars of classic Hollywood films, including those interested in women and film, gender studies, and film history.
The spectacular growth in the 1970s and 1980s of the Marxist literature on politics and the state in capitalist society was hailed at the time as cumulative proof of Marxism's success in producing an effective theory of the political superstructure. More generally, it was seen as confirmation of the health and vigor of Marxist theory. Axel van den Berg questions both of these claims. Through comprehensive analysis of Marxist thought on bourgeois politics and the state, from that produced by Marx himself on, van den Berg radically challenges the viability of a distinctly Marxist theory of the state and of recent Marxist theorizing in general. In an exhaustive review of the literature, van den Berg shows that neo-Marxist theories are, for the most part, not empirically testable. To the extent that it is possible to draw any empirical implications from these theories at all, such implications are virtually indistinguishable from those of "bourgeois" theories. Van den Berg proceeds to lay bare the contradiction at the heart of Marxist theory in general: it presupposes the viability and desirability of some ideal socialist society yet its "anti-utopian" insistence that all criticisms of capitalism must rest on foundations immanent in capitalism itself prohibits any open discussion of such a utopia. Now available in paperback, this is a fundamental work for political and social theorists. "This work is brilliant in its polemical courage, its originality, and its detailed and revealing examination of texts. Van den Berg demonstrates that postwar Marxist political theory and sociology is not only vague and contradictory but that it actually makes critical concessions to the bourgeois thought' it claims to surpass. Appearing in the midst of afar-reaching reconsideration of the Marxism project in Europe, this volume crystallizes these issues for North American social science..."--Jeffrey Alexander, University of California, Los Angeles. "Van den Berg has made a major contribution to the long overdue relegation of Marxism to the museum of nineteenth-century ideological antiquities."--Dennis Wrong, Contemporary Sociology. Axel van den Berg is a Dutch-Canadian professor of sociology at McGill University in Montreal. His most recent work is The Social Sciences and Rationality.
The government can hack into any computer or smartphone on the planet. What sounded like a crazy conspiracy theory was exposed as truth with the 2013 NSA leaks from Edward Snowden. Since then, the deluge of CIA and NSA hacking programs filling the sky like rain hasn’t stopped. This is an exposé of the software programs and techniques used by the agencies to spy on the planet. Big Brother is watching. It’s time to watch back. Dozens of previously classified government surveillance programs are divulged in this alarming book! Contents include these fascinating topics: Edward Snowden; NSA; Mass Surveillance; Five Eyes; FinCEN (Financial Crimes Enforcement Network); Stuxnet; PRISM; MYSTIC; DCSNet (Digital Collection System Network); XKeyscore; DISHFIRE; STONEGHOST; Magic Lantern; ECHELON; Fairview; WikiLeaks; Vault 7; Julian Assange; Room 641A; The Doughnut; Fort Meade; Menwith Hill; Utah Data Center; ICREACH; Ransomware, Tor; “wannacry”; ShadowBrokers; and tons more. Axel Balthazar is at it again!
Krause draws upon his more than 20 years as a correspondent and bureau chief in several European capitals and his unique connections with leading players to explain exactly what will happen when twelve independent countries unite at the end of 1992 to form the New Europe--and what it will mean to the United States.
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