This book attempts to grant a clear insight into the problem of culture. Thinking about culture, we are faced with the inevitable, and apparently insuperable, problem of how to study culture in the absence of a consensual definition of this notion. For several reasons, the anthropologists Claude Lévi-Strauss and Clifford Geertz provide an ideal starting point for tackling this issue. Firstly, both graduated in philosophy before turning to anthropology. Secondly, the linguisticmodel- based approach they initiated is founded on the general belief that language is a feature which all men have in common. And thirdly, when taken together, the conclusions reached by Lévi-Strauss and Geertz, which contradict one another, yield a clear view on the conceptual complexity of culture.
Film established itself as an artistic form of expression at the same time that Proust started work on his masterpiece, A la recherche du temps perdu. If Proust apparently took little interest in what he described as a poor avatar of reductive, mimetic representation, the resonances between his own radical reworking of writing styles and the novelistic forms, and cinema as the art of time are undeniable. Proust at the Movies is the first study in English to consider these rich interconnections. Its introductory chapter charts the missed encounter between Proust and the cinema and addresses the problems inherent in adapting his novel to the screen. The following chapters examine the various cinematic responses to A la recherche du temps perdu attempted to date: Luchino Visconti and Joseph Losey's failed attempts at adapting the whole of the novel in the 1970s, Volker Schlöndorff's Un Amour de Swann (1984), Raoul Ruiz's Le Temps retrouvé (1999), Chantal Akerman's La Prisonnière in La Captive (2000), and Fabio Carpi's Quartetto Basileus (1982) and Le Intermittenze del cuore (2003). The last chapter tracks the echoes of Proust's writing in the work of various directors, from Abel Grace to Jean-Luc Godard. The approach is multidisciplinary, combining literary criticism with film theory and elements of philosophy of art. Special attention is given to the modernist legacy in literature and film with its distinctive aesthetic and narrative features. An outline of the history and recent evolution of contemporary art cinema thus emerges: a cinema where the themes at the heart of Proust's work - memory, time, perception - are ceaselessly explored.
The second edition of the book includes a new chapter on the study of composition operators on the Hardy space and their complete characterization by Gordon and Hedenmalm. The book is devoted to Diophantine approximation, the analytic theory of Dirichlet series and their composition operators, and connections between these two domains which often occur through the Kronecker approximation theorem and the Bohr lift. The book initially discusses Harmonic analysis, including a sharp form of the uncertainty principle, Ergodic theory and Diophantine approximation, basics on continued fractions expansions, and the mixing property of the Gauss map and goes on to present the general theory of Dirichlet series with classes of examples connected to continued fractions, Bohr lift, sharp forms of the Bohnenblust–Hille theorem, Hardy–Dirichlet spaces, composition operators of the Hardy–Dirichlet space, and much more. Proofs throughout the book mix Hilbertian geometry, complex and harmonic analysis, number theory, and ergodic theory, featuring the richness of analytic theory of Dirichlet series. This self-contained book benefits beginners as well as researchers.
This book attempts to grant a clear insight into the problem of culture. Thinking about culture, we are faced with the inevitable, and apparently insuperable, problem of how to study culture in the absence of a consensual definition of this notion. For several reasons, the anthropologists Claude Lévi-Strauss and Clifford Geertz provide an ideal starting point for tackling this issue. Firstly, both graduated in philosophy before turning to anthropology. Secondly, the linguisticmodel- based approach they initiated is founded on the general belief that language is a feature which all men have in common. And thirdly, when taken together, the conclusions reached by Lévi-Strauss and Geertz, which contradict one another, yield a clear view on the conceptual complexity of culture.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.