In the post-Soviet period, discussions of "postmodernism" in Russian literature have proliferated. Based on close literary analysis of representative works of fiction by three post-Soviet Russian writers – Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin – this book investigates the usefulness and accuracy of the notion of "postmodernism" in the post-Soviet context. Classic Russian literature, renowned for its pursuit of aesthetic, moral and social values, and the modernism that succeeded it have often been seen as antipodes to postmodernist principles. The author wishes to dispute this polarity and proposes "post-Soviet neo-modernism" as an alternative concept. "Neo-modernism" embodies the notion that post-Soviet writers have redeemed the tendency of earlier literature to seek the meaning of human existence in a transcendent realm, as well as in the treasures of Russia's cultural past.
In 1894–1895, after suffering defeat against Japan in a war primarily fought over the control of Korea, the Qing government initiated fundamental military reforms and established “New Armies“ modeled after the German and Japanese military. Besides reorganizing the structure of the army and improving military training, the goal was to overcome the alleged physical weakness and lack of martial spirit attributed to Chinese soldiers in particular and to Chinese men in general. Intellectuals, government officials, and military circles criticized the pacifist and civil orientation of Chinese culture, which had resulted in a negative attitude towards its armed forces and martial values throughout society and a lack of interest in martial deeds, glory on the battlefield, and military achievements among men. The book examines the cultivation of new soldiers, officers, and civilians through new techniques intended to discipline their bodies and reconfigure their identities as military men and citizens. The book shows how the establishment of German-style “New Armies” in China between 1895 and 1916 led to the re‐creation of a militarized version of masculinity that stressed physical strength, discipline, professionalism, martial spirit, and “Western” military appearance and conduct. Although the military reforms did not prevent the downfall of the Qing Dynasty or provide stable military clout to subsequent regimes, they left a lasting legacy by reconfiguring Chinese military culture and re‐creating military masculinity and the image of men in China.
In many discussions of nations' development, we often focus on their economic and social development. Is it becoming wealthier? Is its society modernizing? Is it becoming more technologically sophisticated? Are social outcomes improving for the broad mass of the public? The process of development policy implementation, however, is always and inevitably political. Put simply, regime type matters when it comes to deciding on a course of development to follow. Further, political institutions matter. When a government's institutional capacity is low, the chances of success severely decline, regardless of the merits of the development plan. In The Oxford Handbook of the Politics of Development, two of America's leading political scientists on the issue, Carol Lancaster and Nicolas van de Walle, have assembled an international cast of leading scholars to craft a broad, state-of-the-art work on this vitally important topic. This volume is divided into five sections: major theories of the politics of development, organized historically (e.g. modernization theory, dependency theory, the Washington consensus of 'policies without politics,' etc.); key domestic factors and variables; key international factors and variables; political systems and structures; and geographical perspectives, inclusive of regional dynamics. A comprehensive and cross-regional examination on key issues of political development, this Handbook not only provides an authoritative synthesis of past scholarship, but also sets the agenda for future research in this discipline.
The scientific scramble to discover the first generation of drugs created through genetic engineering. The biotech arena emerged in the 1970s and 1980s, when molecular biology, one of the fastest-moving areas of basic science in the twentieth century, met the business world. Gene Jockeys is a detailed study of the biotech projects that led to five of the first ten recombinant DNA drugs to be approved for medical use in the United States: human insulin, human growth hormone, alpha interferon, erythropoietin, and tissue plasminogen activator. Drawing on corporate documents obtained from patent litigation, as well as interviews with the ambitious biologists who called themselves gene jockeys, historian Nicolas Rasmussen chronicles the remarkable, and often secretive, work of the scientists who built a new domain between academia and the drug industry in the pursuit of intellectual rewards and big payouts. In contrast to some who critique the rise of biotechnology, Rasmussen contends that biotech was not a swindle, even if the public did pay a very high price for the development of what began as public scientific resources. Within the biotech enterprise, the work of corporate scientists went well beyond what biologists had already accomplished within universities, and it accelerated the medical use of the new drugs by several years. In his technically detailed and readable narrative, Rasmussen focuses on the visible and often heavy hands that construct and maintain the markets in public goods like science. He looks closely at how science follows money, and vice versa, as researchers respond to the pressures and potential rewards of commercially viable innovations. In biotechnology, many of those engaged in crafting markets for genetically engineered drugs were biologists themselves who were in fact trying to do science. This book captures that heady, fleeting moment when a biologist could expect to do great science through the private sector and be rewarded with both wealth and scientific acclaim.
Strokes of Genius: Italian Drawings from the Goldman Collection was published in conjunction with an exhibition of the same title organized by and presented at the Art Institute of Chicago from November 1, 2014, to February 1, 2015.
This 6-volume set of Bakers covers all musical genres, with entries written by a distinguished group of area specialists as well as the original articles of Nicolas Slonimsky. More than 15, 000 biographies span the medieval ages to the present.This work continues the tradition of offering the most comprehensive and authoritative information on the musicians, along with interesting and insightful evaluations of their contributions to the musical world. Bakers remains the most affordable, comprehensive and readable of all music reference works, providing everyone from the student to scholar a one-stop resource for all their music biographical needs. Some of the artists featured include: Louis Armstrong Johann Sebastian Bach The Beatles Ludwig van Beethoven James Brown John Cage Maria Callas Johnny Cash Miles Davis Claude Debussy Marvin Gaye Philip Glass George Frideric Handel Charlie Parker Luciano Pavarotti Arturo Toscanini Tom Waits And many more
In the post-Soviet period, discussions of "postmodernism" in Russian literature have proliferated. Based on close literary analysis of representative works of fiction by three post-Soviet Russian writers – Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin – this book investigates the usefulness and accuracy of the notion of "postmodernism" in the post-Soviet context. Classic Russian literature, renowned for its pursuit of aesthetic, moral and social values, and the modernism that succeeded it have often been seen as antipodes to postmodernist principles. The author wishes to dispute this polarity and proposes "post-Soviet neo-modernism" as an alternative concept. "Neo-modernism" embodies the notion that post-Soviet writers have redeemed the tendency of earlier literature to seek the meaning of human existence in a transcendent realm, as well as in the treasures of Russia's cultural past.
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