This book addresses one of the most hotly contested debates in contemporary cultural life: the question of how anti-Semitism figures in the operas of Richard Wagner. Until now, scholars have generally acknowledged Wagner's anti-Semitism but have argued that it is irrelevant to the operas themselves. Marc A. Weiner challenges that traditional view by asserting that anti-Semitism is a crucial, pervasive feature in Wagner's operas. Weiner argues that the operas exemplify and contribute to a vast collection of images that are patently anti-Semitic - and that were readily recognized as such by nineteenth-century German audiences. These images were associated particularly with the body. Through a careful examination of Wagner's music, libretti, and stage directions, Weiner reconstructs iconographies of corporeal images - iconographies of the eye, voice, smell, gait, and sexuality - that were essential to the operas and were "associated with anti-Semitism and the longing for an imagined German community".
The volumes in this authoritative series present a multidisciplinary approach to modeling and simulation of flows in the cardiovascular and ventilatory systems, especially multiscale modeling and coupled simulations. The cardiovascular and respiratory systems are tightly coupled, as their primary function is to supply oxygen to and remove carbon dioxide from the body's cells. Because physiological conduits have deformable and reactive walls, macroscopic flow behavior and prediction must be coupled to nano- and microscopic events in a corrector scheme of regulated mechanisms when the vessel lumen caliber varies markedly. Therefore, investigation of flows of blood and air in physiological conduits requires an understanding of the biology, chemistry, and physics of these systems together with the mathematical tools to describe their functioning. Volume 3 is devoted to the set of mediators of the cell surface, especially ion and molecular carriers and catalytic receptors that, once liganded and activated, initiate signal transduction pathways. Intracellular cascades of chemical reactions trigger the release of substances stored in cellular organelles and/or gene transcription and protein synthesis. Primary mediators are included in models of regulated cellular processes, but multiple secondary signaling components are discarded to allow simple, representative modeling and to manage their inverse problems.
The volumes in this authoritative series present a multidisciplinary approach to modeling and simulation of flows in the cardiovascular and ventilatory systems, especially multiscale modeling and coupled simulations. The cardiovascular and respiratory systems are tightly coupled, as their primary function is to supply oxygen to and remove carbon dioxide from the body's cells. Because physiological conduits have deformable and reactive walls, macroscopic flow behavior and prediction must be coupled to phenomenological models of nano- and microscopic events in a corrector scheme of regulated mechanisms when the vessel lumen caliber varies markedly. Therefore, investigation of flows of blood and air in physiological conduits requires an understanding of the biology, chemistry, and physics of these systems together with the mathematical tools to describe their functioning. Volume 4 is devoted to major sets of intracellular mediators that transmit signals upon stimulation of cell-surface receptors. Activation of signaling effectors triggers the release of substances stored in cellular organelles and/or gene transcription and protein synthesis. Complex stages of cell signaling can be studied using proper mathematical models, once the role of each component is carefully handled. Volume 4 also reviews various categories of cytosolic and/or nuclear mediators and illustrates some major signal transduction pathways, such as NFkappaB axis, oxygen sensing, and mechanotransduction.
A basic tenet of literary studies is that aesthetic structures are politically significant because they represent an artist's response to the political implications of cultural codes with which the recipient of the modern work is also acquainted. This tenet provides the basis for the ideological associations attending the appearance of music in the modern German narrative. With his understanding of the arts as involved in often unacknowledged ideological forces within a culture, Marc Weiner's Undertones of Insurrection bridges the gap between the "New Musicology's" rewarding infusion of modern cultural and literary theory into the study of music, politically insightful examinations of narrative structures in the modern novel, and the methodologically conservative area of musical-literary relations in Germanic Studies. In other words, the questions it raises are different from those pursued in most examinations of music and literature, because previous works of this kind concerning the literature of German-speaking Europe have often disregarded social concerns in general, and political issues in particular.Ranging from 1900 to Doctor Faustus (1947), Weiner study sets the stage by examining public debates that conflated such issues as national identity, racism, populism, the role of the sexes, and xenophobia with musical texts. In the literary analyses that follow, Weiner discusses both obvious connections between music and sociopolitical issues--Hesse's equation of jazz and insurrection in Steppenwolf--and covert ones, the suppression of music in Death in Venice and the use of politically charged musical subtexts in Werfel's Verdi and Schnitzler's Rhapsody. By uncovering the ideological agendas informing cultural practice in modernist Germany, Undertones of Insurrection calls for a reevaluation of the function of music in the modern German narrative.
Revolutionary Passage is a cultural, social, and political history of Russia during its critical period of transformation at the end of the twentieth century. Marc Garcelon traces the history of perestroika and the rise of Vladimir Putin, arguing that the pressure Mikhail Gorbachev's reforms put on the Soviet system gave birth to movements for democratic change. He also shows that the very political arrangements that prompted the fall of Communism also killed hopes for subsequent reform. At the turning point of this political revolution stood Democratic Russia, or DemRossiia, the principal organization of the Russian democratic movement that helped to dismantle the Soviet system and force the Soviet leadership to change course. However, as post-Soviet Russia committed itself to globalization and U.S.-style economic reforms, the country directed itself away from the Democratic reforms called for by organizations like DemRossiia, and such groups collapsed. Revolutionary Passage provides a close examination of the DemRossiia. Garcelon deftly illuminates the rise and decline of this organization, and how the processes of revolutionary change impacted both Russia and the world.
This book addresses one of the most hotly contested debates in contemporary cultural life: the question of how anti-Semitism figures in the operas of Richard Wagner. Until now, scholars have generally acknowledged Wagner's anti-Semitism but have argued that it is irrelevant to the operas themselves. Marc A. Weiner challenges that traditional view by asserting that anti-Semitism is a crucial, pervasive feature in Wagner's operas. Weiner argues that the operas exemplify and contribute to a vast collection of images that are patently anti-Semitic - and that were readily recognized as such by nineteenth-century German audiences. These images were associated particularly with the body. Through a careful examination of Wagner's music, libretti, and stage directions, Weiner reconstructs iconographies of corporeal images - iconographies of the eye, voice, smell, gait, and sexuality - that were essential to the operas and were "associated with anti-Semitism and the longing for an imagined German community".
Many elderly patients suffer from psychiatric conditions that result from--or are made worse by--existing medical conditions. This new edition integrates clinical expertise needed to evaluate and treat psychiatric, medical and neurologic disorders in the older patient. Both scientific foundations of and clinical approaches to psychiatric disease are discussed by a range of experts who rely on evidence-based clinical guidelines and outcomes data. Most chapters include case studies that illuminate the approaches to diagnosis and treatment. The book's five sections include basic principles of evaluation and treatment for specific disorders; appendices offer further insight into pharmacotherapy and neuroanatomic foundation of psychiatric diseases.
A basic tenet of literary studies is that aesthetic structures are politically significant because they represent an artist's response to the political implications of cultural codes with which the recipient of the modern work is also acquainted. This tenet provides the basis for the ideological associations attending the appearance of music in the modern German narrative. With his understanding of the arts as involved in often unacknowledged ideological forces within a culture, Marc Weiner's Undertones of Insurrection bridges the gap between the "New Musicology's" rewarding infusion of modern cultural and literary theory into the study of music, politically insightful examinations of narrative structures in the modern novel, and the methodologically conservative area of musical-literary relations in Germanic Studies. In other words, the questions it raises are different from those pursued in most examinations of music and literature, because previous works of this kind concerning the literature of German-speaking Europe have often disregarded social concerns in general, and political issues in particular. Ranging from 1900 to Doctor Faustus (1947), Weiner study sets the stage by examining public debates that conflated such issues as national identity, racism, populism, the role of the sexes, and xenophobia with musical texts. In the literary analyses that follow, Weiner discusses both obvious connections between music and sociopolitical issues--Hesse's equation of jazz and insurrection in Steppenwolf--and covert ones, the suppression of music in Death in Venice and the use of politically charged musical subtexts in Werfel's Verdi and Schnitzler's Rhapsody. By uncovering the ideological agendas informing cultural practice in modernist Germany, Undertones of Insurrection calls for a reevaluation of the function of music in the modern German narrative.
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