Arnold Brecht witnessed and participated in the course of German history from the late 19th century to the present. Serving under seven Reich chancellors, he became acting Secretary of State, and was finally removed from office by Hitler in 1933. This is an absorbing account of these momentous years: a Germany preoccupied with conquest, the catastrophe of World War I, the nerve-wracking decisions of the Armistice, the fateful Kapp Putsch, the failures of the Weimar Republic, the tragedy of the death of Rathenau and the ensuing swing to the Right. Professor Brecht depicts in detail the social milieu of pre-war Germany and the political decisions—internal and external—of a country abased before the world. He is able to write from firsthand knowledge of Hitler, Chancellor Max von Baden, President Friedrich Ebert, Matthias Erzberger, Gustav Stresemann, Walter Rathenau, and many others. This book is an autobiography, full of rich and detailed accounts of the author's personal philosophy and life as a private individual. It is also an impressive eye-witness account of Germany in the 19th and 20th centuries. Finally, it is in effect a work of applied political theory, a suitable companion to his Political Theory. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
In this distinguished work Arnold Brecht, who served under more than a dozen German Chancellors and whose work in defense of democracy received recognition by the Adenauer government in 1953, surveys the philosophical and scientific foundations of political theory in the twentieth century. His wide-ranging treatise sweeps over the entire scope of this century's contributions, including the philosophical, juridical, scientific, sociological, methodological, and historical. The book is a pioneering effort toward an integrated presentation, a first attempt to offer a comprehensive modern political theory. The aim is both a systematic presentation and a full description of the recent genesis of thought. The pertinent teachings of representative writers-some from the past (from Hume and Kant to Darwin, Mill, and Marx) and most of the present century (from Peirce, James, Simmel, and Weber to Husserl, Dewey, Lasswell, Northrop, and Fuller) are analyzed. Dr. Brecht incorporates, chapter by chapter, his own contributions. Social scientists, philosophers, lawyers, and students of religion will find it a challenging guide, written with penetrating clarity and rich in fruitful suggestions. Originally published in 1959. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This stunning contribution to the field of theatre history is the first in-depth look at avant-garde theatre in the United States from the early 1950s to the 1990s. American Avant-Garde Theatre offers a definition of the avant-garde, and looks at its origins and theoretical foundations by examining: *Gertrude Stein *John Cage *The Beat writers *Avant-garde cinema *Abstract Expressionism *Minimalism There are fascinating discussions and illustrations of the productions of the Living Theatre, the Wooster Group, Open Theatre, Ontological-Hysteric Theatre and Performance Group. among many others. Aronson also examines why avant-garde theatre declined and virtually disappeared at the end of the twentieth century.
February 1, 2002 marks the 100th birthday of Langston Hughes. To commemorate the centennial of his birth, Arnold Rampersad has contributed new Afterwords to both volumes of his highly-praised biography of this most extraordinary and prolific American writer. The second volume in this masterful biography finds Hughes rooting himself in Harlem, receiving stimulation from his rich cultural surroundings. Here he rethought his view of art and radicalism, and cultivated relationships with younger, more militant writers such as Richard Wright, Ralph Ellison, James Baldwin, and Amiri Bakara. Rampersads Afterword to volume two looks further into his influence and how it expanded beyond the literary as a result of his love of jazz and blues, his opera and musical theater collaborations, and his participation in radio and television. In addition, Rempersad explores the controversial matter of Hughess sexuality and the possibility that, despite a lack of clear evidence, Hughes was homosexual. Exhaustively researched in archival collections throughout the country, especially in the Langston Hughes papers at Yale Universitys Beinecke Library, and featuring fifty illustrations per volume, this anniversary edition will offer a new generation of readers entrance to the life and mind of one of the twentieth centurys greatest artists.
This bibliography provides an alphabetical listing of over 1500 articles, books, and dissertations that treat in some way the topic of clitics and related matters, e.g. affixes, words, word order, movement, sandhi, etc. The beginning point for the bibliographic entries is 1892, taking Jacob Wackernagel's classic work as the point of departure, and the entries cover the subsequent 100-year period. Each entury is accompanied by a series of descriptors which give an indication of the content of the item. Nearly one-third of the book is a detailed analytic index, based on the descriptors, which can aid in topical searches for relevant material. Prefatory matter includes an essay “What is a Clitic?” by Arnold M. Zwicky, a brief consideration of Wackernagel's scholarly career by Brian D. Joseph, and information on the format and use of the book itself.
First published in 1969, provides a helpful introduction to the study of Absurdist writing and drama in the first half of the twentieth century. After discussing a variety of definitions of the Absurd, it goes on to examine a number of key figures in the movement such as Esslin, Sartre, Camus, Ionesco and Genet. The book concludes with a discussion of the limitations of the term ‘Absurd’ and possible objections to Absurdity. This book will be of interest to those studying Absurdist literature as well as twentieth century drama, literature and philosophy.
From baby boomers to millennials, attending a big music festival has basically become a cultural rite of passage in America. In Half a Million Strong, music writer and scholar Gina Arnold explores the history of large music festivals in America and examines their impact on American culture. Studying literature, films, journalism, and other archival detritus of the countercultural era, Arnold looks closely at a number of large and well-known festivals, including the Newport Folk Festival, Woodstock, Altamont, Wattstax, the New Orleans Jazz and Heritage Festival, Hardly Strictly Bluegrass, and others to map their cultural significance in the American experience. She finds that—far from being the utopian and communal spaces of spiritual regeneration that they claim for themselves— these large music festivals serve mostly to display the free market to consumers in its very best light.
Fifty Key Theatre Designers looks at the history of theatrical scenography by examining the work and contributions of fifty ground-breaking set, costume, lighting, and projection designers since the Renaissance. Developments of scenic design are traced from the introduction of perspective painting to create illusionistic scenery in Renaissance Italy to the use of digital projection in the twenty-first century. The book also discusses important landmarks in the evolution of costume and lighting design, as well as the introduction of film and video technology to stage design. A broad range of work is explored, including opera, dance, Broadway and West End commercial theatre, avant-garde performance, and even Olympic spectacles. Each chapter features one designer, including basic biographical information and a discussion of that artist’s style, aesthetics, and contributions. Designers covered include Sebastiano Serlio, Ferdinando Bibiena, Richard Wagner, Adolphe Appia, and Edward Gordon Craig, amongst many other notable individuals. Each chapter also includes references to other significant designers with similar aesthetics or who made similarly important contributions to the development of that aspect of scenography. This book is ideal for undergraduates and graduates of scenography, theatrical design, and theatre history.
From Homer and Shakespeare to Toni Morrison and Jonathan Safran Foer, major works of literature have a great deal to teach us about two of life’s most significant stages—growing up and growing old. Distinguised scholar Arnold Weinstein’s provocative and engaging new book, Morning, Noon, and Night, explores classic writing’s insights into coming-of-age and surrendering to time, and considers the impact of these revelations upon our lives. With wisdom, humor, and moving personal observations, Weinstein leads us to look deep inside ourselves and these great books, to see how we can use art as both mirror and guide. He offers incisive readings of seminal novels about childhood—Huck Finn’s empathy for the runaway slave Jim illuminates a child’s moral education; Catherine and Heathcliff’s struggle with obsessive passion in Wuthering Heights is hauntingly familiar to many young lovers; Dickens’s Pip, in Great Expectations, must grapple with a world that wishes him harm; and in Marjane Satrapi’s autobiographical Persepolis, little Marjane faces a different kind of struggle—growing into adolescence as her country moves through the pain of the Iranian Revolution. In turn, great writers also ponder the lessons learned in life’s twilight years: both King Lear and Willy Loman suffer as their patriarchal authority collapses and death creeps up; Brecht’s Mother Courage displays the inspiring indomitability of an aging woman who has “borne every possible blow. . . but is still standing, still moving.” And older love can sometimes be funny (Rip Van Winkle conveniently sleeps right through his marriage) and sometimes tragic (as J. M. Coetzee’s David Lurie learns the hard way, in Disgrace). Tapping into the hearts and minds of memorable characters, from Sophocles’ Oedipus to Artie in Art Spiegelman’s Maus, Morning, Noon, and Night makes an eloquent and powerful case for the role of great literature as a knowing window into our lives and times. Its intelligence, passion, and genuine appreciation for the written word remind us just how crucial books are to the business of being human.
The second volume in this biography finds Langston Hughes rooting himself in Harlem, receiving stimulation from his rich cultural surroundings. Here he rethought his view of art and radicalism and cultivated relationships with younger, more militant writers such as Richard Wright and Ralph Ellison.
The Film Handbook examines the current state of filmmaking and how film language, technique and aesthetics are being utilised for today’s ‘digital film’ productions. It reflects on how critical analysis’ of film underpins practice and story, and how developing an autonomous ‘vision’ will best aid student creativity. The Film Handbook offers practical guidance on a range of traditional and independent ‘guerrilla’ film production methods, from developing script ideas and the logistics of planning the shoot to cinematography, sound and directing practices. Film professionals share advice of their creative and practical experiences shooting both on digital and film forms. The Film Handbook relates theory to the filmmaking process and includes: • documentary, narrative and experimental forms, including deliberations on ‘reading the screen’, genre, mise-en-scène, montage, and sound design • new technologies of film production and independent distribution, digital and multi-film formats utilised for indie filmmakers and professional dramas, sound design and music • the short film form, theories of transgressive and independent ‘guerrilla’ filmmaking, the avant-garde and experimental as a means of creative expression • preparing to work in the film industry, development of specialisms as director, producer, cinematographer, editor, and the presentation of creative work.
Theodor Jellinghaus (1841-1912), theologian and leader of the Heiligungsbewegung (Holiness Movement), was one of the fathers of the Gemeinschaftsbewegung (Fellowship Movement) in Germany, a new organized expression of the Pietist tradition in nineteenth-century German Protestantism. The key event for the life and work of Jellinghaus was his participation in the convention on Christian holiness in England in 1874. He wanted to bring the new insights he gained there to revive the Protestant and Pietist traditions in the land of the Reformation. Jellinghaus believed that the doctrine of sanctification by faith in Jesus Christ, which he had heard in England, was an indispensable consequence of and necessary accompaniment to a clear doctrine of justification. His special concern in the Gemeinschaftsbewegung was the education of laypersons. The last phase of his life was characterized by crisis and illness, which were related to each other and directly and indirectly led to his so-called recantation. We can only do justice to the overall persona of Jellinghaus if we differentiate between the former (healthy) and later (ill) Jellinghaus. He has to be viewed in the contradictions and tensions within the development of the Heiligungsbewegung and the Gemeinschaftsbewegung as well as his theological teachings. This book is the first comprehensive treatment of Jellinghaus, which not only focuses on his doctrine of sanctification, but assesses his overall life and work, that is, his theological system and personal involvement in and contribution to the development of the Heiligungsbewegung and Gemeinschaftsbewegung in Germany.
Mediating Memory in the Museum is a contribution to an emerging field of research that is situated at the interface between memory studies and museum studies. It highlights the role of museums in the proliferation of the so-called memory boom as well as the influence of memory discourses on international trends in museum cultures.
The cultural legacy of the air war on Germany is explored in this comparative study of two bombed cities from different sides of the subsequently divided nation. Contrary to what is often assumed, Allied bombing left a lasting imprint on German society, spawning vibrant memory cultures that can be traced from the 1940s to the present. While the death of half a million civilians and the destruction of much of Germany's urban landscape provided 'usable' rallying points in the great political confrontations of the day, the cataclysms were above all remembered on a local level, in the very spaces that had been hit by the bombs and transformed beyond recognition. The author investigates how lived experience in the shadow of Nazism and war was translated into cultural memory by local communities in Kassel and Magdeburg struggling to find ways of coming to terms with catastrophic events unprecedented in living memory.
This provocative book reveals how Hollywood films reflect our deepest fears and anxieties as a country, often recording our political beliefs and cultural conditions while underscoring the darker side of the American way of life. Long before the war in Iraq and the economic crises of the early 21st century, Hollywood has depicted a grim view of life in the United States, one that belies the prosperity and abundance of the so-called American Dream. While the country emerged from World War II as a world power, collectively our sense of security had been threatened. The result is a cinematic body of work that has America's decline and ruin as a central theme. The author draws from popular films across all genres and six decades to illustrate how the political climate of the times influenced their creation. Projecting the End of the American Dream: Hollywood's Visions of U.S. Decline combines film history, social history, and political history to reveal important themes in the unfolding American narrative. Discussions focus on a wide variety of films, including Rambo, Planet of the Apes, and Easy Rider.
The Theory of the Top was originally presented by Felix Klein as an 1895 lecture at Göttingen University that was broadened in scope and clarified as a result of collaboration with Arnold Sommerfeld. The Theory of the Top: Volume IV. Technical Applications of the Theory of the Top is the fourth and final installment in a series of self-contained English translations that provide insights into kinetic theory and kinematics.
This essay collection examines the dynamics of memory organization and the way it varies among different media and modes of discourse in post-unification Germany. German unification has put the post-war period into a historical perspective. Such a rupture raises questions concerning the appropriate commemoration, preservation and reinterpretation of the past. The processes of reorientation after unification influenced the self-perception of literary authors as well as the social role, position and status of German literature. They also affected the way writers viewed the competition in which they found themselves pitted against visual and electronic media as rival windows on the past. In the context of several debates on German literature during the 1990s the discussion revolved not only around the adequate aesthetic representation of the historical and cultural heritage but even more so around the role of literature itself in that process. The contributions look at different discourses that were and still are concerned with reinterpreting and creating new collective symbols and narrative patterns in relation to Germany's past. The volume focuses on the effects of the characteristic discourses of the press, literature and its different genres, film, the internet and memorials on the depiction and performance of memories.
Exploring the lives and achievements of over 1,000 extraordinary men and women, this book offers answers to the age-old questions about the relationship between mental illness and greatness, and also reveals factors that predict creative achievement. The book is filled with colorful stories about many of the most eminent artists, scientists, social activists, politicians, soldiers, and business people of our time. Moving beyond anecdotal accounts, The Price of Greatness is based on over 10 years of original scientific research on major 20th-century figures. Delving into many of humankind's greatest achievements and the special attributes and backgrounds of those who accomplished them, this illuminating work will interest anyone who wants to know why some people achieve fame - and what price they may pay in the process.
Arnold Zable takes the reader on an intimate journey into the lives of people he met on travels over the last forty years. These are tales aching to be told of hardship, yearning and celebration. Tales that span the globe, and bring us back to Melbourne to the powerful and heartbreaking story of Amal, who survived the SIEV X disaster.
First published in 1977, this book provides a clear and well-illustrated analysis of modern verse drama. It studies the work of its chief exponents, T. S. Eliot and Christopher Fry, as well as the genre’s place in the development of modern theatre. It particular focuses on the effect that verse drama has had on an audience’s awareness of language in the theatre, paving the way for dramatists like Pinter, Beckett and Wesker. This book will be of particular interest to those studying modern poetry and drama.
A classic work of theatre history and criticism when first published, Arnold Aronson's formative study surveyed the phenomenon known as environmental theatre. Now updated in this richly illustrated second edition to reflect developments and practice since the 1980s, it offers readers a comprehensive study of the theatre practice which has evolved to become the dominant mode of much contemporary innovative performance. For most audiences, particularly in the Western tradition, theatre means going to a building in which seats face a stage on which actors perform a play. But there has always been a vital alternative that came to be known as environmental theatre. Whether in folk performances, street theatre, avant-garde performance, utopian architecture, Happenings, mass spectacles, or contemporary immersive theatre, the relationship of the spectator to the performance has been one in which the audience is surrounded or immersed in a shared space, in which the multiple events may be happening simultaneously, and in which the experience of theatrical space is visceral and often kinetic. This book examines the history of this phenomenon and looks at a range of contemporary practice. New chapters examine how the 'transformed spaces' of earlier work have become the interactive and immersive productions that characterize the work of companies such as Punchdrunk, dreamthinkspeak, Teatro da Vertigem, En Garde Arts, and The Industry, among others. Updated to take account of the burgeoning scholarship on the subject, The History and Theory of Environmental Scenography remains the authoritative account that illuminates present day theatre practice and its antecedents.
Though widely recognized as one of the Industrial Workers of the World's leading members and one of its most prominent militants, this is the first book-length biography of Frank Little. Little's life offers innumerable lessons for working class people facing many of the same economic injustices in today's world. Arnold Stead, PhD, is a poet, fiction writer, historian, playwright, and jazz and film critic. He lives in Minneapolis, Minnesota, with his wife and family.
The volume is the first edition of all known and available letters between Arnold Schoenberg and over seventy American composers, written between 1915 and 1951 in English and English translation and with commentary. It includes numerous unknown letters and casts new light on Schoenberg's American years, his American composers colleagues and his life and works in the United States. The book qualifies the concept of, and Schoenberg's association with, the Second Viennese School and reveals hitherto unknown aspects of Schoenberg's biography.
It has been variously labelled ‘Language Poetry’, ‘Language Writing’, ‘L=A=N=G=U=A=G=E writing’ (after the magazine that ran from 1978 to 1981), and ‘language-centred writing’. It has been placed according to its geographical positions, on East or West coasts; its venues in small magazines, independent presses and performance spaces, and its descent from historical precursors, be they the Objectivists, the composers-by-field of the Black Mountain School, the Russian Constructivists or American modernism à la William Carlos Williams and Gertrude Stein. Indeed, one of the few statements that can be made about it with little qualification is that ‘it’ has both fostered and endured a crisis in representation more or less since it first became visible in the 1970s. In Poetry & Language Writing David Arnold grasps the nettle of Language poetry, reassessing its relationship with surrealism and providing a scholarly, intelligent way of understanding the movement. Poets discussed include Charles Bernstein, Susan Howe, Michael Palmer and Barrett Watten.
C. Arnold Snyder’s full-length biography and analysis of the thought of Michael Sattler, the noted Anabaptist leader, martyr, and author of The Schleitheim Articles. This book is another case study in Anabaptist origins, as well as a being a biographical study of Michael Sattler. It is particularly stimulating in breaking new ground around the Roman Catholic (Benedictine) roots of Swiss and South German Anabaptism. This study, therefore, constitutes a major advance in Anabaptist historiography. The author of this volume is gentle, unassuming, and deceptively modest in his approach, but clear and incisive in his findings. The book is a model of careful historical method and scholarship. In stimulating the kind of fresh analysis and research indicated, the author has placed all of his colleagues in the field in his debt, and added significantly to our understanding of the early sixteenth century.
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