Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance. Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you. When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity. Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in which you vigorously hop and stomp late into the night. Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany’s first democracy (1918-1933). Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together. In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists’ deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected. Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment. Extensively illustrated and with color plates, Marking Modern Movement is a clearly written book accessible to general readers and undergraduates. Coming at a time of a growing number of major art museums showcasing large-scale exhibitions on images of dance, the audience exists for a substantial general-public interest in this topic. Conversing across German studies, art history, dance studies, gender studies, and popular culture studies, Marking Modern Movement is intended to engage readers coming from a wide range of perspectives and interests.
This provocative book challenges long-held assumptions about the nature of historical consciousness in Germany. Susan A. Crane argues that the ever-more-elaborate preservation of the historical may actually reduce the likelihood that history can be experienced with the freshness and individuality characteristic of the early collectors and preservationists. Her book is both a study of the emergence in late eighteenth- and early nineteenth-century Germany of a distinctively modern conception of historical consciousness, and a meditation on what was lost as historical thought became institutionalized and professionalized. Public forms of remembering the past which are familiar today, such as historical museums and historical preservation, have surprisingly recent origins. In Germany, caring about the past took on these distinctively new forms after the Napoleonic wars. The Brothers Grimm gathered fairy tales and documented the origins of the German language. Historical preservationists collected documents and artifacts and organized the conservation of cathedrals and other historic buildings. Collectors formed historical societies and created Germany's historical museums. No single national consciousness emerged; instead, many groups used similar means to make different claims about what it meant to have a German past.Although individuals were responsible for stimulating new interest in the past, they chose to band together in voluntary associations to promote collective awareness of German history. In doing so, however, they clashed with academic and political interests and lost control over the very artifacts, collections, and buildings they had saved from ruin. Examining the letters and publications of the amateur collectors, Crane shows how historical consciousness came to be represented in collective terms—whether regional or national—and in effect robbed everyone of the capacity to experience history individually and spontaneously.
Continuing in the tradition of the first edition, Whitbourneís identity process model serves to integrate the physiological with a psychological perspective. The effects of physical changes on the individual are examined in terms of identity, as well as the impact of identity on the interpretation of these changes. The preventive and compensatory steps that indiviuduals can take to offset the aging process are explored as well. As with the first edition, a major strength of this text is the authorís illumination of complex biological concepts in a clear and accessible style. The Second Edition includes new material focusing on demographic statistics, chronic diseases, the biopsychosocial perspective, and succesful aging. This edition also features new charts, tables, and figures to highlight the text. This is an excellent text for advanced undergraduate and graduate students in the fields of psychology, gerontology, and social work.
Susan James explores the revolutionary political thought of one of the most radical and creative of modern philosophers, Baruch Spinoza. His Theologico-Political Treatise of 1670 defends religious pluralism, political republicanism, and intellectual freedom. James shows how this work played a crucial role in the development of modern society.
Through such formal devices as series and multipanel works, JoAnn Verburg invigorates some of photography's common themes - the portrait, the landscape, the domestic view. Some of her work catches viewers off guard, leaving them unsure where they stand in relationship to the scene being shown; others play with the passage of time, offering narratives that play out in either space or time, or both, or neither. The intimate spaces of personal life are another of her ongoing themes, as shown in a series featuring her husband, the poet Jim Moore, reading newspapers or books, or sleeping. The unguarded intimacy of the image strikes one note here; the tension and reality of the current events featured on that day's newspaper strikes another, reaching out of the work into the world, expanding photography's space even further. Whether taking pictures of artists, swimmers, trees or pyramids constructed from sand,Verburg deftly pushes at the boundaries of the representation of time and space.
One of the Next Big Idea Club's Favorite Nonfiction Books A Behavioral Scientist Notable Book of 2022 A legendary record producer–turned–brain scientist explains why you fall in love with music. This Is What It Sounds Like is a journey into the science and soul of music that reveals the secrets of why your favorite songs move you. But it’s also a story of a musical trailblazer who began as a humble audio tech in Los Angeles, rose to become Prince’s chief engineer for Purple Rain, and then created other No. 1 hits ,including Barenaked Ladies' "One Week," as one of the most successful female record producers of all time. Now an award-winning professor of cognitive neuroscience, Susan Rogers leads readers to musical self-awareness. She explains that we each possess a unique “listener profile” based on our brain’s natural response to seven key dimensions of any song. Are you someone who prefers lyrics or melody? Do you like music “above the neck” (intellectually stimulating), or “below the neck” (instinctual and rhythmic)? Whether your taste is esoteric or mainstream, Rogers guides readers to recognize their musical personality, and offers language to describe one's own unique taste. Like most of us, Rogers is not a musician, but she shows that all of us can be musical—simply by being an active, passionate listener. While exploring the science of music and the brain, Rogers also takes us behind the scenes of record-making, using her insider’s ear to illuminate the music of Prince, Frank Sinatra, Kanye West, Lana Del Rey, and many others. She shares records that changed her life, contrasts them with those that appeal to her coauthor and students, and encourages you to think about the records that define your own identity. Told in a lively and inclusive style, This Is What It Sounds Like will refresh your playlists, deepen your connection to your favorite artists, and change the way you listen to music.
When Crusader armies on their way to the Holy Land attacked Jewish communities in the Rhine Valley, many Jews chose suicide over death at the hands of Christian mobs. With their defiant deaths, the medieval Jewish martyr was born. With the literary commemoration of the victims, Jewish martyrology followed. Beautiful Death examines the evolution of a long-neglected corpus of Hebrew poetry, the laments reflecting the specific conditions of Jewish life in northern France. The poems offer insight into everyday life and into the ways medieval French Jews responded to persecution. They also suggest that poetry was used to encourage resistance to intensifying pressures to convert. The educated Jewish elite in northern France was highly acculturated. Their poetry--particularly that emerging from the innovative Tosafist schools--reflects their engagement with the vernacular renaissance unfolding around them, as well as conscious and unconscious absorption of Christian popular beliefs and hagiographical conventions. At the same time, their extraordinary poems signal an increasingly harsh repudiation of Christianity's sacred symbols and beliefs. They reveal a complex relationship to Christian culture as Jews internalized elements of medieval culture even while expressing a powerful revulsion against the forms and beliefs of Christian life. This gracefully written study crosses traditional boundaries of history and literature and of Jewish and general medieval scholarship. Focusing on specific incidents of persecution and the literary commemorations they produced, it offers unique insights into the historical conditions in which these poems were written and performed.
This lively history of the Frankenstein myth, illuminated by dozens of pictures and illustrations, is told with skill and humor. Hitchcock uses film, literature, history, science, and even punk music to help readers understand the meaning of this monster made by man.
Managing the Drug Discovery Process, Second Edition thoroughly examines the current state of pharmaceutical research and development by providing experienced perspectives on biomedical research, drug hunting and innovation, including the requisite educational paths that enable students to chart a career path in this field. The book also considers the interplay of stakeholders, consumers, and drug firms with respect to a myriad of factors. Since drug research can be a high-risk, high-payoff industry, it is important to students and researchers to understand how to effectively and strategically manage both their careers and the drug discovery process. This new edition takes a closer look at the challenges and opportunities for new medicines and examines not only the current research milieu that will deliver novel therapies, but also how the latest discoveries can be deployed to ensure a robust healthcare and pharmacoeconomic future. All chapters have been revised and expanded with new discussions on remarkable advances including CRISPR and the latest gene therapies, RNA-based technologies being deployed as vaccines as well as therapeutics, checkpoint inhibitors and CAR-T approaches that cure cancer, diagnostics and medical devices, entrepreneurship, and AI. Written in an engaging manner and including memorable insights, this book is aimed at anyone interested in helping to save countless more lives through science. A valuable and compelling resource, this is a must-read for all students, educators, practitioners, and researchers at large—indeed, anyone who touches this critical sphere of global impact—in and around academia and the biotechnology/pharmaceutical industry. - Considers drug discovery in multiple R&D venues - big pharma, large biotech, start-up ventures, academia, and nonprofit research institutes - with a clear description of the degrees and training that will prepare students well for a career in this arena - Analyzes the organization of pharmaceutical R&D, taking into account human resources considerations like recruitment and configuration, management of discovery and development processes, and the coordination of internal research within, and beyond, the organization, including outsourced work - Presents a consistent, well-connected, and logical dialogue that readers will find both comprehensive and approachable - Addresses new areas such as CRISPR gene editing technologies and RNA-based drugs and vaccines, personalized medicine and ethical and moral issues, AI/machine learning and other in silico approaches, as well as completely updating all chapters
From basic science to clinical care, to epidemiological disease patters, The Neurology of AIDS is the only complete textbook available on AIDS neurology and the only one comprehensive enough to stand alone in each segment of study in brain disorders affected by the human immunodeficiency virus. It is an indispensable resource for students, resident physicians, practicing physicians, and for researchers and experts in the HIV/AIDS field. Oxford Clinical Neuroscience is a comprehensive, cross-searchable collection of resources offering quick and easy access to eleven of Oxford University Press's prestigious neuroscience texts. Joining Oxford Medicine Online these resources offer students, specialists and clinical researchers the best quality content in an easy-to-access format.
The reissue of a classic work, now with a foreword by Daniel Goleman! Here is a monumental work that continues in the tradition pioneered by co-author Richard Lazarus in his classic book Psychological Stress and the Coping Process. Dr. Lazarus and his collaborator, Dr. Susan Folkman, present here a detailed theory of psychological stress, building on the concepts of cognitive appraisal and coping which have become major themes of theory and investigation. As an integrative theoretical analysis, this volume pulls together two decades of research and thought on issues in behavioral medicine, emotion, stress management, treatment, and life span development. A selective review of the most pertinent literature is included in each chapter. The total reference listing for the book extends to 60 pages. This work is necessarily multidisciplinary, reflecting the many dimensions of stress-related problems and their situation within a complex social context. While the emphasis is on psychological aspects of stress, the book is oriented towards professionals in various disciplines, as well as advanced students and educated laypersons. The intended audience ranges from psychiatrists, clinical psychologists, nurses, and social workers to sociologists, anthropologists, medical researchers, and physiologists.
Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance. Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you. When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity. Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in which you vigorously hop and stomp late into the night. Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany’s first democracy (1918-1933). Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together. In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists’ deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected. Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment. Extensively illustrated and with color plates, Marking Modern Movement is a clearly written book accessible to general readers and undergraduates. Coming at a time of a growing number of major art museums showcasing large-scale exhibitions on images of dance, the audience exists for a substantial general-public interest in this topic. Conversing across German studies, art history, dance studies, gender studies, and popular culture studies, Marking Modern Movement is intended to engage readers coming from a wide range of perspectives and interests.
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