- Horst Hamann is one of the great pioneers of vertical city photography - His book New York Vertical has sold more than 150,000 copies - Well-known sightseeing highlights from an unusual perspective The coffee-table book London Vertical is a delight both for lovers of the British capital and for fans of Hamann's work. Whether Big Ben, Tower Bridge, London Eye or The Shard, Hamann presents all these sights, which have already been photographed thousands of times, in his own creative way and thus creates something completely new. It is fun to pick up this illustrated book again and again, because the unusual approach to the motifs is interesting for the eye and brings new details to the fore. The passionate photo artist was born in Mannheim in 1958 and discovered the camera for himself at the age of eleven. Having grown up on two continents, Europe and America, he began an intensive artistic exploration of the extreme format of panorama photography in 1985. But it was not until 1991 that what Hamann's followers adore about him today happened: He turned his camera to portrait format for the first time at the intersection of 41st Street and Avenue of the Americas and has since been called the "inventor" of vertical photography among insiders. His photographs not only testify to his great skill and compositional talent, Hamann manages in a unique way to stage well-known motifs in a completely new way. As a reader, you look at his pictures with curiosity and look forward anew to recognizing the sights in each photo. Text in English and German.
Some people may mistakenly overlook this book because of the novelty of its central idea--upending a panoramic camera to shoot New York City vertically. But veteran photographer Horst Hamann's pictures have nothing gimmicky about them; in fact, like Berenice Abbott's, they seem destined for New York City photo immortality. The pictures are beautifully controlled--in vision, in camera technique, and in printing. What's more, Hamann bends the city to his vision of light, air, and geometry. A shot of the Statue of Liberty's right arm, holding the lamp aloft, is a masterwork of composition and care. It's as if Hamann somehow arranged for the sea below to darken in precisely the same gradations as the Lady's stately arm. Compare it to a dizzying picture of one of the Chrysler Building's shiny eagle heads, or a serene moment among the hosta lilies in Trinity Church cemetery for a grasp of Hamann's range. Each photograph is paired with a quotation on the opposite page, such as Walt Whitman's "The beautiful city, the city of hurried and sparkling waters!" or former mayor James J. Walker's quip, "I'd rather be a lamppost in New York than Mayor of Chicago." The back of the book contains information on the places in the photographs. On a shelf of New York books, this one might take its place next to Paul Goldberger's classic, The City Observed, as a fresh example of how New York's stone, steel, and glass architectural icons are reinvented with each new visionary.
This accessible and highly readable book is the first full-lengthbiography of Hegel to be published since the largely outdatedtreatments of the nineteenth century. Althaus draws on newhistorical material and scholarly sources about the life and timesof this most enigmatic and influential of modern philosophers. Hepaints a living portrait of a thinker whose personality was morecomplex than is often imagined, and shows that Hegel's relation tohis revolutionary times was also more ambiguous than is usuallyaccepted. Althaus presents a broad chronological narrative of Hegel'sdevelopment from his early theological studies in Tubingen and theassociated unpublished writings, profoundly critical of theestablished religious orthodoxies. He traces Hegel's years ofphilosophical apprenticeship with Schelling in Jena as he struggledfor an independent intellectual position, up to the crowning periodof influence and success in Berlin where Hegel appeared as theadvocate of the modern Prussian state. Althaus tells a vivid storyof Hegel's life and his intellectual and personal crises, drawinggenerously on the philosopher's own words from his extensivecorrespondence. His central role in the cultural and political lifeof the time is illuminated by the impressions and responses of hiscontemporaries, such as Schelling, Schleiermacher and Goethe. This panoramic introduction to Hegel's life, work and times will bea valuable resource for scholars, students and anyone interested inthis towering figure of philosophy.
This book challenges the standard view that modern hermeneutics begins with Friedrich Ast and Friedrich Schleiermacher, arguing instead that it is the dialectic of reflective and teleological reason in Kant’s Critique of Judgment that provides the actual proto-hermeneutic foundation. It is revolutionary in doing so by replacing interpretive truth claims by the more appropriate claim of rendering opaque contexts intelligible. Taking Gadamer’s comprehensive analysis of hermeneutics in Truth and Method (1960) as its point of departure, the book turns to Kant’s Critiques, reviewing his major concepts as a coherent system in relation to his sensus communis. At the heart of the book is the interaction between reflective, bottom-up search and teleological, top-down interpretative projection as provided in Part II of the third Critique. This text contends that Kant’s broad definition of nature invites the liberation of the reflective-teleological judgment from its biological exemplifications and so permits us to establish its generalised status as a path-breaking, methodological tool. Kant’s dialectic of reflective search and meaning bestowing, stipulated teleology is asserted to anticipate a series of motifs commonly associated with hermeneutics. Figures covered include Dilthey, Husserl, Ingarden, Heidegger, Gadamer, Apel, Habermas, Ricoeur, Derrida, Foucault, Lyotard, Deleuze, Vattimo, Nancy and Caputo. Their collective contributions to interpretation allow for a review of the evolution of hermeneutics from the perspective of the Kantian critique of the limitations of human cognition. The book is written for the informed, general reader, but will likewise appeal to advanced undergraduate and graduate students as well as researchers in the humanities and social sciences.
The study of religion under the spell of fascism has not received due attention. One reason for the noticeable lack of interest was the political involvement of many historians of religions. Among those who had good reason to leave the era of fascism untouched, we find prominent figures in the field. Another obstacle to examining the past impartially has been the connection with religious and other worldviews which render historical accounts in the study of religion an intricate matter. The articles in this volume provide evidence of the great complexity of the problems involved. Laying the groundwork in many cases, they shed new light on a dark and poorly-lit era of the academic study of religion in Europe.
First published in 1992, this book evokes Pandora and Occam as metaphoric corner posts in an argument about language as discourse and in doing so, brings analytic philosophy to bear on issues of Continental philosophy, with attention to linguistic, semiological, and semiotic concerns. Instead of regarding meanings as guaranteed by definitions, the author argues that linguistic expressions are schemata directing us more or less loosely toward the activation of nonlinguistic sign systems. Ruthrof draws up a heuristic hierarchy of discourses, with literary expression at the top, descending through communication-reduced reference and speech acts to formal logic and digital communication at the bottom. The book offers multiple perspectives from which to review traditional theories of meaning, working from a wide variety of theorists, including Peirce, Frege, Husserl, Derrida, Lyotard, Davidson, and Searle. In Ruthrof’s analysis, Pandora and Occam illustrate the opposition between the suppressed rich materiality of culturally saturated discourse and the stark ideality of formal sign systems. This book will be of interest to those studying linguistics, literature and philosophy.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived
The renowned authors of this ECFR special volume systematically develop legal standards and regulatory frameworks for closed corporations in Europe (including of course the Societas Privata Europaea), putting a strong focus on the economic practice and efficiency. The profound, in-depth analysis of the objectives and strategies comes to groundbreaking insights and also offers specific solutions for a multitude of practical aspects.
Cell Interactions in Atherosclerosis covers the scientific foundations of the most important disease inflicting the developed world today. It presents a collection of topical aspects on the general theme of cell interactions in atherosclerosis, providing authoritative, up-to-the-minute accounts of how new developments in cell biology have advanced our understanding of these cellular interactions. The book is amply illustrated with electron micrographs and light micrographs incorporating modern cytochemical procedures. Cell Interactions in Atherosclerosis will interest all medical and scientific professionals dealing with atherosclerosis and heart disease.
Originally printed in German in 1993, this updated and revised version has been translated into English. Lots of new photos and updated data were added to the text as Gerlach traces the beginnings of the Amish movement in Switzerland, their development and contribution to agriculture in Europe, and their spread throughout Europe as well as their eventual decline. A short portion covers the Amish in North America. This is the most comprehensive book on the Amish in Europe. (401pp. color illus. index. Masthof Press, 2013.)
A wonderful compliment to the existing New York Vertical books published by teNeues Publishing Company. Horst Hamann takes the reader on an international look at some of his most treasured vertical finds from New York, Paris, Hong Kong and Germany.
Horst Hamann once again pays homage to his adopted city in this collection of photographs that capture not only New York's towering magnificence, but also its breadth and promise. In beautifully-composed panoramas, portraits and streetscapes that are at once astonishing and intimate, Hamann shows us New York through the eyes of a visitor, friend and adversary. We see the city's stark angles and gentle shadows; its majestic forests of pillars and skyscrapers; its graceful curves, arches, and lines; the welcoming embrace of its interior spaces and its alienating walls of steel and concrete. His photographs offer an unparalleled experience, allowing us to see, as if for the first time, a city with a heart and soul all of its own.
Some people may mistakenly overlook this book because of the novelty of its central idea--upending a panoramic camera to shoot New York City vertically. But veteran photographer Horst Hamann's pictures have nothing gimmicky about them; in fact, like Berenice Abbott's, they seem destined for New York City photo immortality. The pictures are beautifully controlled--in vision, in camera technique, and in printing. What's more, Hamann bends the city to his vision of light, air, and geometry. A shot of the Statue of Liberty's right arm, holding the lamp aloft, is a masterwork of composition and care. It's as if Hamann somehow arranged for the sea below to darken in precisely the same gradations as the Lady's stately arm. Compare it to a dizzying picture of one of the Chrysler Building's shiny eagle heads, or a serene moment among the hosta lilies in Trinity Church cemetery for a grasp of Hamann's range. Each photograph is paired with a quotation on the opposite page, such as Walt Whitman's "The beautiful city, the city of hurried and sparkling waters!" or former mayor James J. Walker's quip, "I'd rather be a lamppost in New York than Mayor of Chicago." The back of the book contains information on the places in the photographs. On a shelf of New York books, this one might take its place next to Paul Goldberger's classic, The City Observed, as a fresh example of how New York's stone, steel, and glass architectural icons are reinvented with each new visionary.
Award-winning photographer Horst Hamann's vertical reconnaissance trips through the world's most beautiful and romantic city have yielded an astonishing array of images in this stunning pictorial tribute to Paris. Sensitized to vertical perspectives since publishing his best-selling New York Vertical and equipped with a new panoramic camera, he painstakingly set up shot after shot, often finding himself precariously balanced off Notre Dames gargoyles, the balconies of the Pompidou Center-even the Eiffel Tower. His stark black and white compositions offer unique vertical reinterpretations of some of Europe's most recognizable cityscapes. Horst Hamann has become famous during the last twenty years for his panoramic photography. His internationally acclaimed and widely exhibited photographs of New York have been published in the best-selling New York Vertical (teNeues) and, more recently, in One Night on Broadway. Born in Germany, he is now based in New York. SELLING POINTS A unique pictorial tribute to Paris by the award-winning photographer of New York Vertical Stark black and white compositions that offer stunning vertical reinterpretations of some of Europe's most recognizable cityscapes
66 duotone photographs Text in English, German, French, Italian and Spanish Award-winning photographer Horst Hamann's vertical reconnaissance trips through the world's most beautiful and romantic city have yielded an astonishing array of images in this stunning pictorial tribute to Paris. Sensitized to vertical perspectives since publishing his best-selling New York Vertical and equipped with a new panoramic camera, he painstakingly set up shot after shot, often finding himself precariously balanced off Notre Dames gargoyles, the balconies of the Pompidou Center-even the Eiffel Tower. His stark black and white compositions offer unique vertical reinterpretations of some of Europe's most recognizable cityscapes. Horst Hamann has become famous during the last twenty years for his panoramic photography. His internationally acclaimed and widely exhibited photographs of New York have been published in the best-selling New York Vertical (teNeues) and, more recently, in One Night on Broadway. Born in Germany, he is now based in New York. A unique pictorial tribute to Paris by the award-winning photographer of New York Vertical Stark black and white compositions that offer stunning vertical reinterpretations of some of Europe's most recognizable
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