This book is both an analysis of the Bastille as cultural paradigm and a case study on the history of French political culture. It examines in particular the storming and subsequent fall of the Bastille in Paris on July 14, 1789 and how it came to represent the cornerstone of the French Revolution, becoming a symbol of the repression of the Old Regime. Lüsebrink and Reichardt use this semiotic reading of the Bastille to reveal how historical symbols are generated; what these symbols’ functions are in the collective memory of societies; and how they are used by social, political, and ideological groups. To facilitate the symbolic nature of the investigation, this analysis of the evolving signification of the Bastille moves from the French Revolution to the nineteenth century to contemporary history. The narrative also shifts from France to other cultural arenas, like the modern European colonial sphere, where the overthrow of the Bastille acquired radical new signification in the decolonization period of the 1940s and 1950s. The Bastille demonstrates the potency of the interdisciplinary historical research that has characterized the end of this century, combining quantitative and qualitative approaches, and taking its methodological tools from history, sociology, linguistics, and cultural and literary studies.
The authors explore the complex, many-faceted visual culture of the French Revolution, which took place in a period characterised by the creation of a new visual language steeped in metaphor, symbol and allegory.
This book offers an introduction into projective geometry. The first part presents n-dimensional projective geometry over an arbitrary skew field; the real, the complex, and the quaternionic geometries are the central topics, finite geometries playing only a minor part. The second deals with classical linear and projective groups and the associated geometries. The final section summarizes selected results and problems from the geometry of transformation groups.
The authors explore the complex, many-faceted visual culture of the French Revolution, which took place in a period characterised by the creation of a new visual language steeped in metaphor, symbol and allegory.
This book is an English translation of a study of the highly organized public mass celebrations to glorify the state/party/leader of authoritarian regimes in the 20th century, which originated in and enjoyed their longest run in the Soviet Union.
That science-fiction future in which technology would make everything very good—or very bad—has not yet arrived. From our vantage point at least, no age appears to have had a deeper faith in the inevitability and imminence of such a total technological transformation than the early twentieth century. Russia was no exception."—from the introduction In the Soviet Union, it seems, armoring oneself against the world did not suffice—it was best to become metal itself. In his engaging and accessible book, Rolf Hellebust explores the aesthetic and ideological function of the metallization of the revolutionary body as revealed in Soviet literature, art, and politics. His book shows how the significance of this modern myth goes far beyond the immediate issue of the enthusiasm with which the Bolsheviks welcomed such a symbolic transfiguration and that of our own uneasy attraction to the images of metal flesh and machine-men. Hellebust's literary examples range from the famous (Pasternak's Doctor Zhivago) to the forgotten (early Soviet proletarian poets). To these he adds a mix of non-Russian references, from creation myths to comic book superheroes, medieval alchemy to Moby-Dick. He includes readings of posters, sculpture, and political discourse as well as cross-cultural comparisons to revolutionary France, industrial-age America, and Nazi Germany. The result is a fascinating portrait of the ultimate symbols of dehumanizing modernity, as refracted through the prism of utopian humanism.
The first edition of this book, published in German, came into being as the result of lectures which the authors held over a period of several years since 1953 at the Universities of Helsinki and Zurich. The Introduction, which follows, provides information on what moti vated our presentation of an absolute, coordinate- and dimension-free infinitesimal calculus. Little previous knowledge is presumed of the reader. It can be recom mended to students familiar with the usual structure, based on co ordinates, of the elements of analytic geometry, differential and integral calculus and of the theory of differential equations. We are indebted to H. Keller, T. Klemola, T. Nieminen, Ph. Tondeur and K. 1. Virtanen, who read our presentation in our first manuscript, for important critical remarks. The present new English edition deviates at several points from the first edition (d. Introduction). Professor I. S. Louhivaara has from the beginning to the end taken part in the production of the new edition and has advanced our work by suggestions on both content and form. For his important support we wish to express our hearty thanks. We are indebted also to W. Greub and to H. Haahti for various valuable remarks. Our manuscript for this new edition has been translated into English by Doctor P. Emig. We express to him our gratitude for his careful interest and skillful attention during this work.
This bibliography aims serve the demands and wishes of students of Old Frisian for its own sake as well as for those who want to use Old Frisian for comparative purposes. Although it concentrates on language and literature, titles have also been included which deal with more or less peripheral matters such as Ingvaeonic, history, legal history and daily life in Medieval Frisia. The bibliography is divided into three parts. Part I lists in alphabetical order all the books and articles. Part II alphabetically indexes the reviewers occurring in Part I. Part III contains an analytical index to Part I, enabling scholars to survey what work has been done on a particular subject.
The present monograph on analytic functions coincides to a lar[extent with the presentation of the modern theory of single-value analytic functions given in my earlier works "Le theoreme de Picarc Borel et la theorie des fonctions meromorphes" (Paris: Gauthier-Villar 1929) and "Eindeutige analytische Funktionen" (Die Grundlehren dt mathematischen Wissenschaften in Einzeldarstellungen, VoL 46, 1: edition Berlin: Springer 1936, 2nd edition Berlin-Gottingen-Heidelberg Springer 1953). In these presentations I have strived to make the individual result and their proofs readily understandable and to treat them in the ligh of certain guiding principles in a unified way. A decisive step in thi direction within the theory of entire and meromorphic functions consiste- in replacing the classical representation of these functions through ca nonical products with more general tools from the potential theor (Green's formula and especially the Poisson-Jensen formula). On thi foundation it was possible to introduce the quantities (the characteristic the proximity and the counting functions) which are definitive for th
Hitler and the Nazis saturated their country with many types of propaganda to convince the German citizenry that the Nazi ideology was the only ideology. One type of propaganda that the Nazis relied on heavily was cinematic. This work focuses on Nazi propaganda feature films and feature-length documentaries made in Germany between 1933 and 1945 and released to the public. Some of them were Staatsauftragsfilme, films produced by order of and financed by the Third Reich. The films are arranged by subject and then alphabetically, and complete cast and production credits are provided for each. Short biographies of actors, directors, producers, and other who were involved in the making of Nazi propaganda films are also provided.
Robbery Under Arms was acclaimed as an Australian classic almost immediately after it appeared in book form in the late 1880s. It was praised for its excitement, romance and authentic picture of 1850s colonial life. As the first writer to attempt a long narrative in the voice of an uneducated Australian bushman, Rolf Boldrewood had created a story with enduring cultural resonance. Its continuing appeal and popularity have seen the tale frequently adapted for stage, radio, film and television. During all of this time the novel's text was not stable. It lost some material accidentally in its early typesettings, and these omissions were never repaired. It was later abridged by its author at the publisher's request, but the publisher botched his instructions. And, as with any much-reprinted work, thousands of small changes gradually crept into the text. This Academy Edition is the first full-scale critical edition of the novel. It presents the text as it originally appeared in instalments in the pages of the Sydney Mail in 1882-83. It allows readers to experience the first-person narration that Henry Lawson was inspired by, to appreciate how the special qualities of voice were partially flattened over time and to know exactly what material was omitted. (Publisher's blurb).
A complete update of the highly acclaimed handbook with data on all neurotransmitters and the majority of neuromodulators. The coverage is now even more comprehensive, with 15% more entries on neuropeptides, "classic" neurotransmitters and related substances in a clear, alphabetical format. The methodological section has been expanded by 50% and now includes color figures, plus new chapters on genomics, proteomics, databases, microarrays, MALDI-TOF, neutrophins, FGF, endocannabinoids and neuroimaging. The text provides clearly structured information on the biosynthesis and degradation, localization, receptors, signal transduction pathways, and biological effects in the central nervous system, with all substances uniformly treated for an easy comparison of data. Furthermore, introductory chapters on receptors, transporters, and the blood-brain barrier make this an indispensable tool for researchers, teachers, and advanced students, as well as a must-have for every neuroscientist.
This book is both an analysis of the Bastille as cultural paradigm and a case study on the history of French political culture. It examines in particular the storming and subsequent fall of the Bastille in Paris on July 14, 1789 and how it came to represent the cornerstone of the French Revolution, becoming a symbol of the repression of the Old Regime. Lüsebrink and Reichardt use this semiotic reading of the Bastille to reveal how historical symbols are generated; what these symbols’ functions are in the collective memory of societies; and how they are used by social, political, and ideological groups. To facilitate the symbolic nature of the investigation, this analysis of the evolving signification of the Bastille moves from the French Revolution to the nineteenth century to contemporary history. The narrative also shifts from France to other cultural arenas, like the modern European colonial sphere, where the overthrow of the Bastille acquired radical new signification in the decolonization period of the 1940s and 1950s. The Bastille demonstrates the potency of the interdisciplinary historical research that has characterized the end of this century, combining quantitative and qualitative approaches, and taking its methodological tools from history, sociology, linguistics, and cultural and literary studies.
This book is both an analysis of the Bastille as cultural paradigm and a case study on the history of French political culture. It examines in particular the storming and subsequent fall of the Bastille in Paris on July 14, 1789 and how it came to represent the cornerstone of the French Revolution, becoming a symbol of the repression of the Old Regime. Lüsebrink and Reichardt use this semiotic reading of the Bastille to reveal how historical symbols are generated; what these symbols' functions are in the collective memory of societies; and how they are used by social, political, and ideologica.
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