Mastery of many sorts emerges in new configurations in Peter Burger's book: as an idea developed by Hegel in the master-slave dialectic in his Phenomenology of Spirit; as a quality embodied in the work of certain 20th century master-thinkers; and, not least, in the expertise of Burger himself, as he negotiates and clarifies a critical intersection of contemporary French and German thought. Burger here considers what several seminal thinkers - Bataille, Blanchot, Barthes, Foucault, Lacan, Derrida, Heidegger, as well as novelist Michel Tournier - owe to Hegel's dialectic, and measures their accomplishment against the avant-garde project. Each of his essays in this volume stands alone as a valuable exposition of a significant strain of postmodern thought. Together, they illuminate much of the landscape of 20th-century intellectual and cultural history.
Derived from the renowned multi-volume International Encyclopaedia of Laws, this book provides a practical analysis of criminal law in Denmark. An introduction presents the necessary background information about the framework and sources of the criminal justice system, and then proceeds to a detailed examination of the grounds for criminal liability, the justification of criminal offences, the defences that diminish or excuse criminal liability, the classification of criminal offences, and the sanctions system. Coverage of criminal procedure focuses on the organization of investigations, pre-trial proceedings, trial stage, and legal remedies. A final part describes the execution of sentences and orders, the prison system, and the extinction of custodial sanctions or sentences. Its succinct yet scholarly nature, as well as the practical quality of the information it provides, make this book a valuable resource for criminal lawyers, prosecutors, law enforcement officers, and criminal court judges handling cases connected with Denmark. Academics and researchers, as well as the various international organizations in the field, will welcome this very useful guide, and will appreciate its value in the study of comparative criminal law.
If Aristotle sought to understand time through change, might we not reverse the procedure and seek to understand change through time? Once we do this, argues Peter Osborne, it soon becomes clear that ideas such as avant-garde, modern, postmodern and tradition-which are usually only treated as markets for empirically discrete periods, movements or styles-are best understood as categories of historical totalization. More specifically, Osborne claims, such ideas involve distinct "temporalizations" of history, giving rise to conflicting politics of time. His book begins with a consideration of the main aspects of modernity and develops though a series of critical engagements with the major twentieth-century positions in the philosophy of history. He concludes with a fascinating history of the avant-garde intervention into the temporality of everyday life in surrealism, the situationists and the work of Henri Lefebvre.
Stubborn Poetries is a study of poets whose work, because of its difficulty or simple resistance to conventional explication, remains more or less firmly outside the canon. Book jacket.
The concluding volume in Peter Gay's magisterial study of the European and American middle classes from the 1820s to the outbreak of World War I. Photos.
As Americans flocked to the movies during the first part of the twentieth century, the guardians of culture grew worried about their diminishing influence on American art, education, and American identity itself. Meanwhile, Hollywood studio heads were eager to stabilize their industry, solidify their place in mainstream society, and expand their new but tenuous hold on American popular culture. Peter Decherney explores how these needs coalesced and led to the development of a symbiotic relationship between the film industry and America's stewards of high culture. Formed during Hollywood's Golden Age (1915-1960), this unlikely partnership ultimately insured prominent places in American culture for both the movie industry and elite cultural institutions. It redefined Hollywood as an ideal American industry; it made movies an art form instead of simply entertainment for the masses; and it made moviegoing a vital civic institution. For their part, museums and universities used films to maintain their position as quintessential American institutions. As the book delves into the ties between Hollywood bigwigs and various cultural leaders, an intriguing cast of characters emerges, including the poet Vachel Lindsay, film producers Adolph Zukor and Joseph Kennedy, Hollywood flak and censor extraordinaire Will Hays, and philanthropist turned politician Nelson Rockefeller. Decherney considers how Columbia University's film studies program helped integrate Jewish students into American culture while also professionalizing screenwriting. He examines MoMA's career-savvy film curator Iris Barry, a British feminist once dedicated to stemming the tide of U.S. cultural imperialism, who ultimately worked with Hollywood and the U.S. government to fight fascism and communism and promote American values abroad. Other chapters explore Vachel Lindsay's progressive vision of movies as reinvigorating the public sphere through film libraries and museums; the promotion of movie connoisseurship at Harvard and other universities; and how the heir of a railroad magnate bankrolled the American avant-garde film movement. Amid ethnic diversity, the rise of mass entertainment, world war, and the global spread of American culture, Hollywood and cultural institutions worked together to insure their own survival and profitability and to provide a coherent, though shifting, American identity.
Walter Benjamin and the Aesthetics of Power explores Walter Benjamin?s seminal writings on the relationship between mass culture and fascism. The book offers a nuanced reading of Benjamin?s widely influential critique of aesthetic politics, while it contributes to current debates about the cultural projects of Nazi Germany, the changing role of popular culture in the twentieth century, and the way in which Nazi aesthetics have persisted into the present. Lutz Koepnick first explores the development of the aestheticization thesis in Benjamin?s work from the early 1920s to his death in 1940. Pushing Benjamin?s fragmentary remarks to a logical conclusion, Koepnick sheds light on the ways in which the Nazis employed industrial mass culture to redress the political as a self-referential space of authenticity and self-assertion. Koepnick then examines to what extent Benjamin?s analysis of fascism holds up to recent historical analyses of the National Socialist period and whether Benjamin?s aestheticization thesis can help conceptualize cultural politics today. Although Koepnick insists on crucial differences between the stage-managing of political action in modern and postmodern societies, he argues throughout that it is in Benjamin?s emphatic insistence on experience that we may find the relevance of his reflections today. Walter Benjamin and the Aesthetics of Power is both an important contribution to Benjamin studies and a revealing addition to our understanding of the Third Reich and of contemporary culture?s uneasy relationship to Nazi culture.
Reappraisals is a provocative account of the development of modern critical theory in Germany and the United States. Focusing on the period since World War II, Peter Uwe Hohendahl explores key debates on the function of critical theory, illuminating the diverse positions and alliances among the participants. Bringing together six essays, as well as new introductory and concluding chapters, Hohendahl interprets and subjects to critical scrutiny many of the central ideas of the Frankfurt School. He first maps the trajectory of neomarxist criticism in Germany to the 1980s. Individual chapters then focus on the work of Georg Lukacs, Theodor W. Adorno, and Jürgen Habermas, and on such issues as the politicization of German criticism after 1965 under the influence of the Frankfurt School.
The concluding volume in Peter Gay's magisterial study of the European and American middle classes from the 1820s to the outbreak of World War I. Photos.
This book sheds light on Japan’s underground theatre in a time of its most intense, creative and original productions, viz. 1960-2000, investigating the interrelationship of aesthetics and politics in the period 1960-2000. The first history of avant-garde theatre in Japan.
This splendid book paints a rich portrait of the Russian avant-garde and the intrigues which it saved for posterity. Roberts has written a fascinating history of the famous Costakis collection and its creator George Costakis who, for nearly thirty years, was an administrative clerk in the Canadian embassy in Moscow. Until his forced departure from Russia in 1978 he collected, continually and painstakingly, the abstract, constructivist and supremacist art of 1912 to 1930 which fell into official disrepute under Stalin. The author, a former Canadian ambassador to Moscow, is a first-hand authority on Costakis and his magnificent obsession.
The most comprehensive, practical, and beautiful directory of type, organized by type category -- Serif, San Serif, Display, and Script -- and covering all styles throughout history. The Essential Type Directory offers 1,800 examples of the best in type design, spanning almost 600 years of design history. From classics such as Garamond, Baskerville, Futura, and Helvetica, to more idiosyncratic recent creations such as Gotham and Filosofia, The Essential Type Directory features illuminating profiles of the most important and influential typefaces ever created. Organized by type category-Serif, Sans Serif, Display, and Script-each typeface is presented in uppercase and lowercase alphabetical letters, along with numbers, key punctuation marks, and symbols. This comprehensive guide also features profiles and interviews with leading designers and type foundries, as well as inspirational examples of graphic designs using specific typefaces.
This book is the first study in English to examine some of the key themes and traditions of Czech and Slovak cinema, linking inter-war and post-war cinemas together with developments in the post-Communist period. It examines links between theme, genre, and visual style, and looks at the ways in which a range of styles and traditions has extended across different historical periods and political regimes. Czech and Slovak Cinema provides a unique study of areas of Central European film history that have not previously been examined in English.
Exam Board: Edexcel Level: AS/A-level Subject: History First teaching: September 2015 First exams: AS: Summer 2016; A-level: Summer 2017 Endorsed for Edexcel Enable your students to develop high-level skills in their Edexcel A level History breadth and depth studies through expert narrative and extended reading, including bespoke essays from leading academics - Build a strong understanding of the period studied with authoritative, well-researched content written in an accessible and engaging style - Ensure continual improvement in students' essay writing, interpretation and source analysis skills, using practice questions and trusted guidance on successfully answering exam-style questions - Encourage students to undertake rolling revision and self-assessment by referring to end-of-chapter summaries and diagrams across the years - Help students monitor their progress and consolidate their knowledge through note-making activities and peer-support tasks - Provide students with the opportunity to analyse and evaluate works of real history, with specially commissioned historians' essays and extracts from academic works on the historical interpretations
Winner of the 2014 Annual Book Prize of the Association for the Study of the Arts of the Present (USA). Contemporary art is the object of inflated and widely divergent claims. But what kind of discourse can open it up effectively to critical analysis? Anywhere or Not at All is a major philosophical intervention in art theory that challenges the terms of established positions through a new approach at once philosophical, historical, social and art-critical. Developing the position that "contemporary art is postconceptual art," the book progresses through a dual series of conceptual constructions and interpretations of particular works to assess the art from a number of perspectives: contemporaneity and its global context; art against aesthetic; the Romantic pre-history of conceptual art; the multiplicity of modernisms; transcategoriality; conceptual abstraction; photographic ontology; digitalization; and the institutional and existential complexities of art-space and art-time. Anywhere or Not at All maps out the conceptual space for an art that is both critical and contemporary in the era of global capitalism.
When Frederick II (later known as Frederick the Great) came to the throne in 1740, he had three advantages for which he owed thanks to his father: a modern, well-organised state; full coffers; and a properly trained and equipped army. Under a leader as renowned as Seydlitz, the Prussian cavalry achieved the nearest to a state of perfection that it was ever going to. So great was its reputation in the Seven Years' War that Napoleon made a special point of warning his men at the beginning of the 1806 campaign to beware of the Prussian cavalry.
In the words of Richard Maltby . . . "Maximum Movies--Pulp Fictions describes two improbably imbricated worlds and the piece of cultural history their intersections provoked." One of these worlds comprises a clutch of noisy, garish pulp movies--Kiss Me Deadly, Shock Corridor, Fixed Bayonets!, I Walked with a Zombie, The Lineup, Terror in a Texas Town, Ride Lonesome--pumped out for the grind houses at the end of the urban exhibition chain by the studios' B-divisions and fly-by-night independents. The other is occupied by critics, intellectuals, cinephiles, and filmmakers such as Jean-Luc Godard, Manny Farber, and Lawrence Alloway, who championed the cause of these movies and incited the cultural guardians of the day by attacking a rigorously policed canon of tasteful, rarified, and ossified art objects. Against the legitimate, and in defense of the illegitimate, in an insolent and unruly manner, they agitated for the recognition of lurid sensational crime stories, war pictures, fast-paced Westerns, thrillers, and gangster melodramas were claimed as examples of the true, the real, and the authentic in contemporary culture--the foundation upon which modern film studies sits.
In this book, the author addresses the relationship between art and society, from the emergence of bourgeois culture in the eighteenth century to the decline of modernism in the twentieth century.
Following Stalin's death in 1953, during the period now known as the Thaw, Nikita Khrushchev opened up greater freedoms in cultural and intellectual life. A broad group of intellectuals and artists in Soviet Russia were able to take advantage of this, and in no realm of the arts was this perhaps more true than in music. Students at Soviet conservatories were at last able to use various channels--many of questionable legality--to acquire and hear music that had previously been forbidden, and visiting performers and composers brought young Soviets new sounds and new compositions. In the 1960s, composers such as Andrey Volkonsky, Edison Denisov, Alfred Schnittke, Arvo Pärt, Sofia Gubaidulina, and Valentin Silvestrov experimented with a wide variety of then new and unfamiliar techniques ranging from serialism to aleatory devices, and audiences eager to escape the music of predictable sameness typical to socialist realism were attracted to performances of their new and unfamiliar creations. This "unofficial" music by young Soviet composers inhabited the gray space between legal and illegal. Such Freedom, If Only Musical traces the changing compositional styles and politically charged reception of this music, and brings to life the paradoxical freedoms and sense of resistance or opposition that it suggested to Soviet listeners. Author Peter J. Schmelz draws upon interviews conducted with many of the most important composers and performers of the musical Thaw, and supplements this first-hand testimony with careful archival research and detailed musical analyses. The first book to explore this period in detail, Such Freedom, If Only Musical will appeal to musicologists and theorists interested in post-war arts movements, the Cold War, and Soviet music, as well as historians of Russian culture and society.
Handsomely illustrated and engagingly written, New York Modern documents the impressive collective legacy of New York's artists in capturing the energy and emotions of the urban experience.
Sonic Overload offers a new, music-centered cultural history of the late Soviet Union. It focuses on polystylism in music as a response to the information overload swamping listeners in the Soviet Union during its final decades. It traces the ways in which leading composers Alfred Schnittke and Valentin Silvestrov initially embraced popular sources before ultimately rejecting them. Polystylism first responded to the utopian impulses of Soviet ideology with utopian impulses to encompass all musical styles, from "high" to "low". But these initial all-embracing aspirations were soon followed by retreats to alternate utopias founded on carefully selecting satisfactory borrowings, as familiar hierarchies of culture, taste, and class reasserted themselves. Looking at polystylism in the late USSR tells us about past and present, near and far, as it probes the musical roots of the overloaded, distracted present. Based on archival research, oral historical interviews, and other overlooked primary materials, as well as close listening and thorough examination of scores and recordings, Sonic Overload presents a multilayered and comprehensive portrait of late-Soviet polystylism and cultural life, and of the music of Silvestrov and Schnittke. Sonic Overload is intended for musicologists and Soviet, Russian, and Ukrainian specialists in history, the arts, film, and literature, as well as readers interested in twentieth- and twenty-first century music; modernism and postmodernism; quotation and collage; the intersections of "high" and "low" cultures; and politics and the arts.
These books were written as consultation books to be used to solve problems. They are essentially analogous to medical books for individuals who decided to manage the concepts and fundamentals of things in order to manage the root causes of problems. The Power of Nations integrates the Economic, Social, Diplomatic and Dissuasion Powers to sustain the power of the culture that is within its archetype. All cultures need to integrate all the aspects -economic, social, diplomatic and dissuasion powers. But each culture needs to do it based on its values, in a way that is natural for the culture.
Beginning with Thomas Edison's aggressive copyright disputes and concluding with recent lawsuits against YouTube, Hollywood's Copyright Wars follows the struggle of the film, television, and digital media industries to influence and adapt to copyright law. Though much of Hollywood's engagement with the law occurs offstage, in the larger theater of copyright, many of Hollywood's most valued treasures, from Modern Times (1936) to Star Wars (1977), cannot be fully understood without appreciating their legal controversies. Peter Decherney shows that the history of intellectual property in Hollywood has not always mirrored the evolution of the law and recounts these extralegal solutions and their impact on American media and culture.
When first published in 2006, Rats Alley was a ground-breaking piece of research, the first-ever study of trench names of the Western Front. Now, in this fully updated and revised second edition, the gazetteer has been extended to well over 20,000 trench names, complete with map references – in itself an essential tool for any First World War researcher. However, combined with the finely considered history and analysis of trench naming during the First World War, this is an edition that no military history enthusiast should be without. Discover when, how and why British trenches were first named and follow the names' fascinating development throughout the First World War, alongside details of French and German trench-naming practices. Looked at from both contemporary and modern points of view, the names reveal the full horror of trench warfare and throw an extraordinary sidelight on the cultural life of the period, and the landscape and battles of the Western Front. Names such as Lovers Lane, Idiot Corner, Cyanide Trench, Crazy Redoubt, Doleful Post, Furies Trench, Peril Avenue, Lunatic Sap and Gangrene Alley can be placed in context. With useful information on where original trench maps are held, and how to obtain copies, Rats Alley is a vital volume for both military and family historians.
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