The book ascribes the late state of paralysis affecting dissent in America to the adoption of a peculiar gospel of divisiveness, which was promoted in the Eighties by importing from France the "theories" of philosopher Michel Foucault.
This essential gives an overview of current methods of analysis of stone artefacts ranging from attribute analysis of entire inventories to microscopic analyses of traces of use of individual artefacts. The presented approaches show the range of analysis of prehistoric stone artefacts in the German-speaking area. Simple examples of application illustrate the possibilities and limitations of each method. The content and structure of the essentials is identical to teaching units for learning methods of stone artefact analysis at the University of Tübingen in the Department of Early Prehistory.
This essential gives an overview of current methods of analysis of stone artefacts ranging from attribute analysis of entire inventories to microscopic analyses of traces of use of individual artefacts. The presented approaches show the range of analysis of prehistoric stone artefacts in the German-speaking area. Simple examples of application illustrate the possibilities and limitations of each method. The content and structure of the essentials is identical to teaching units for learning methods of stone artefact analysis at the University of Tübingen in the Department of Early Prehistory.
This book returns to the question at the center of our existence, a question that the narcissistic culture in which we are immersed systematically tends to remove: “Why?” The underlying thesis is that the answer must not be sought in success or social recognition, but in a “fragment of truth”, hidden somewhere inside each of us, which reveals itself only if we detach ourselves from our ego and its certainties. It is not, therefore, a matter of finding yet another philosophical theory of the meaning of existence, but rather of shedding light on the conditions under which such meaning can emerge. The author shows us that the ultimate source of our existential orientation lies in the affective sphere, and that the current crisis of orientation is derived from the atrophy of the process of affective maturation on a large scale, and from a lack of knowledge and experience about which techniques are best to reactivate it. We are like glowworms that had once unlearned how to illuminate and have since begun to hover around the magic lantern of the ascetic ideal, already criticized by Nietzsche, and then around neon advertising signs. We are glowworms that have forgotten that we have within our own affective structure a precious source of orientation. The basic thesis is that this source of orientation can be reactivated through the care of desire and practices of emotional sharing.
While the internationalisation of society has stimulated the emergence of common legal frameworks to coordinate transnational social relations, private law itself is firmly rooted in national law. European integration processes have altered this state of affairs to a limited degree with a few, albeit groundbreaking, interventions that have tended to engender resistance from various actors within European nation-states. Against that background, this book takes as its point of departure the need to understand the process of legal denationalisation within broader political frameworks. In particular it seeks to make sense of opposition to Europeanisation at this point in the evolution of European law when, despite growing nationalist attitudes, great efforts have been made to produce comprehensive legal instruments to synthesise general contract law - an area that has traditionally been solely within the ambit of nation-states. Combining insights from the disciplines of law, history and political science, the book investigates the conceptual and cultural associations between law and the nation-state, examines the impact of nationalist ideas in modern legal thought and reveals the nationalist underpinnings of some of the arguments employed against and, somewhat paradoxically, even in support of legal Europeanisation. The author's research for this book has been supported by the Hague Institute for the Internationalisation of Law.
Guido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events. Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labor markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic.
Human action is usually driven by the desire to obtain more for less, and, ideally something for nothing. This has sometimes been called the economic principle. The wish to “get free stuff” pervades all times and places, all sectors of the economy, all ages, and all social backgrounds. The very selfishness for which the market economy is often chided is, at bottom, a universal quest to obtain goods for free. Jörg Guido Hülsmann sets out to explore the boundaries of this endeavor. He investigates the nature, forms, causes, and consequences of gratuitous goods and concludes that they thrive within a free economy. But generosity and gratuitous abundance tend to be undermined and reversed by central banking and the welfare state. Dr Hülsmann is a professor of economics at the University of Angers in France. He is also a Senior Fellow of the Mises Institute and a corresponding member of the Pontifical Academy for Life.
The novel is the most important form of Western art. It aims to represent the totality of life; it is the flagship that literature sends out against the systematic thought of science and philosophy. Indebted to Lukács and Bakhtin, to Auerbach and Ian Watt, Guido Mazzoni’s Theory of the Novel breaks new ground, building a historical understanding of how the novel became the modern book of life: one of the best representations of our experience of the world. The genre arose during a long metamorphosis of narrative forms that took place between 1550 and 1800. By the nineteenth century it had come to encompass a corpus of texts distinguished by their freedom from traditional formal boundaries and by the particularity of their narratives. Mazzoni explains that modern novels consist of stories told in any way whatsoever, by narrators who exist—like us—as contingent beings within time and space. They therefore present an interpretation, not a copy, of the world. Novels grant new importance to the stories of ordinary men and women and allow readers to step into other lives and other versions of truth. As Theory of the Novel makes clear, this art form narrates an epoch and a society in which individual experiences do not converge but proliferate, in which the common world has fragmented into a plurality of small, local worlds, each absolute in its particularity.
This book focuses on the relevance of non-fungible token-based products in the current hyper-digitalized and hyper-connected world. Connecting the new NFTs’ technologies with academic literature on marketing, the authors highlight future research streams as well as strategies and factors that marketers and managers can use to promote this new type of product. Starting with an overview of the nature and increasing importance of NFTs in marketing, the authors extensively examine the blockchain technology that underlies this new innovation along with its applications. Specifically, by reviewing the existing literature on NFTs, the authors explain the emerging topics and business opportunities offered by NFTs for intellectual property protection, development of new lifestyles, and forms of entertainment. The second part of the book investigates NFTs in three different contexts: art, music, and fashion. By exploring the key behavioral variables that underlie consumers’ intentions to purchase NFT-based products (i.e., materialism, status consumption orientation, innovativeness), the authors discuss the various implications for advertising and marketing strategies in such industries. Offering a state-of-the-art look at this new technology, this book presents a guide for scholars and anyone looking for an understanding of NFTs and the opportunities they present. With a preface by Russell Belk.
Originally published in 1975, The Writer as Liar examines the literary game of falsehood as it is portrayed in the Decameron. The book examines how Boccaccio’s collection of tales has a ‘frame’ story, its own built-in key to the art of story-telling, its internal logic of truth and falsehood, as well as its moments of self-parody, pure narrative intrigue and sophisticated sexual symbolism. The book formulates the argument that Boccaccio’s story telling is seen as an artfully malicious operation, depending for its success not on some abstract concept of narrative originality or the accurate depiction of human psychology, but on the combinative assemblage of narrative blocks, which are manipulated by a craftsman who must lie and cheat with raw material in order to produce a living work – therefore depicting the artist as a liar.
When America began to emerge as a world power at the end of the nineteenth century, Italy was a young nation, recently unified. The technological advances brought about by electricity and the combustion engine were vastly speeding up the capacity of news, ideas, and artefacts to travel internationally. Furthermore, improved literacy and social reforms had produced an Italian working class with increased time, money, and education. At the turn of the century, if Italy's ruling elite continued the tradition of viewing Paris as a model of sophistication and good taste, millions of lowly-educated Italians began to dream of America, and many bought a transatlantic ticket to migrate there. By the 1920s, Italians were encountering America through Hollywood films and, thanks to illustrated magazines, they were mesmerised by the sight of Manhattan's futuristic skyline and by news of American lifestyle. The USA offered a model of modernity which flouted national borders and spoke to all. It could be snubbed, adored, or transformed for one's personal use, but it could not be ignored. Perversely, Italy was by then in the hands of a totalitarian dictatorship, Mussolini's Fascism. What were the effects of the nationalistic policies and campaigns aimed at protecting Italians from this supposedly pernicious foreign influence? What did Mussolini think of America? Why were jazz, American literature, and comics so popular, even as the USA became Italy's political enemy? America in Italian Culture provides a scholarly and captivating narrative of this epochal shift in Italian culture.
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