Thomas D. Grant examines the Great Debate over state recognition, tracing its eclipse, and identifying trends in contemporary international law that may explain the lingering persistence of the terms of that debate. Although writers have generally accepted the declaratory view as more accurate than its old rival, the judicial sources often cited to support the declaratory view do not on scrutiny do so as decisively as commonly assumed. Contemporary doctrinal preference requires explanation. Declaratory doctrine, in its apparent diminution of the role state discretion plays in recognition, is in harmony, Grant asserts, with contemporary aspirations for international law. It may seem to many writers, he believes, that international governance functions better in a conceptual framework that reduces the power of states to legislate what entities are states. Grant proceeds from this analysis of the contemporary status of the old debate to ask what questions now take center stage. In place of doctrine, Grant argues, process is the chief issue concerning recognition today. Whether to recognize unilaterally or in a collective framework; whether to acknowledge legal rules or to let recognition be controlled by political calculus—as Grant points out, such questions concern how states recognize, not the theoretical nature of recognition. This is an important analysis for scholars and researchers of international law and relations and contemporary European politics.
Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Religious liberty is usually examined within a larger discussion of church-state relations, but Thomas Kselman looks at several individuals in Restoration France whose high-profile conversions fascinated their contemporaries. Exploring their reasons and the repercussions they faced, Kselman demonstrates how this expanded sense of liberty informs our secular age.
Thomas Hurka presents the first full historical study of an important strand in the development of modern moral philosophy. His subject is a series of British ethical theorists from the late nineteenth century to the mid-twentieth century, who shared key assumptions that made them a unified and distinctive school. The best-known of them are Henry Sidgwick, G. E. Moore, and W. D. Ross; others include Hastings Rashdall, H. A. Prichard, C. D. Broad, and A. C. Ewing. They disagreed on some important topics, especially in normative ethics. Thus some were consequentialists and others deontologists: Sidgwick thought only pleasure is good while others emphasized perfectionist goods such as knowledge, aesthetic appreciation, and virtue. But all were non-naturalists and intuitionists in metaethics, holding that moral judgements can be objectively true, have a distinctive subject-matter, and are known by direct insight. They also had similar views about how ethical theory should proceed and what are relevant arguments in it; their disagreements therefore took place on common ground. Hurka recovers the history of this under-appreciated group by showing what its members thought, how they influenced each other, and how their ideas changed through time. He also identifies the shared assumptions that made their school unified and distinctive, and assesses their contributions critically, both when they debated each other and when they agreed. One of his themes is that that their general approach to ethics was more fruitful philosophically than many better-known ones of both earlier and later times.
Although beloved by performers and audiences alike, music scholars have generally viewed J.S. Bach's Ich hatte viel Bekümmernis in meinem Herzen (Cantata 21) as one of the composer's weaker compositions. In Tears into Wine, renowned Bach scholar Eric Chafe challenges the scholarly consensus, arguing that Cantata 21 is an exceptionally carefully designed work, and that it displays a convergence of musical structure and theological purpose that is paradigmatic of Bach's sacred work as a whole.
Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
This book offers the first in-depth study of experimental and popular music scenes in Beirut, looking at musicians working towards a new understanding of musical creativity and music culture in a country that is dominated by mass-mediated pop music, and propaganda. Burkhalter studies the generation of musicians born at the beginning of the Civil War in the Lebanese capital, an urban and cosmopolitan center with a long tradition of cultural activities and exchanges with the Arab world, Europe, the US, and the former Soviet Union. These Lebanese rappers, rockers, death-metal, jazz, and electro-acoustic musicians and free improvisers choose local and transnational forms to express their connection to the broader musical, cultural, social, and political environment. Burkhalter explores how these musicians organize their own small concerts for ‘insider’ audiences, set up music labels, and network with like-minded musicians in Europe, the US, and the Arab world. Several key tracks are analyzed with methods from ethnomusicology, and popular music studies, and contextualized through interviews with the musicians. Discussing key references from belly dance culture (1960s), psychedelic rock in Beirut (1970s), the noises of the Lebanese Civil war (1975-1990), and transnational Pop-Avant-Gardes and World Music 2.0 networks, this book contributes to the study of localization and globalization processes in music in an increasingly digitalized and transnational world. At the core, this music from Beirut challenges "ethnocentric" perceptions of "locality" in music. It attacks both "Orientalist" readings of the Arab world, the Middle East, and Lebanon, and the focus on musical "difference" in Euro-American music and culture markets. On theoretical grounds, this music is a small, but passionate attempt to re-shape the world into a place where "modernity" is not "euro-modernity" or "euro-american modernity," but where possible new configurations of modernity exist next to each other.
We All Giggled tells the stories of two families that came together when the author’s parents met and married in 1945. The Hüglins had lost most of their fortune in the course of two world wars, and the Wachendorff s had survived the Nazi years despite their Jewish ancestry. The families’ roots are traced back to a vineyard in southern Germany, a jail in Geneva, the Conservatory in St. Petersburg, and the hometown of a Jewish merchant in Silesia. This engaging book centres on the author’s recollections of his grandparents, his parents, and his own growing up in postwar Germany in an environment of bourgeois stability and comfort. As the author chronicles his family’s ups and downs and abiding love for music, food, and art across several generations, a rich tapestry of anecdotes unfolds—about opera singers, restaurants, and travels, and about family relations, romance, and the kind of “impromptu reactions to people, places, and situations that often result in uncontrollable giggles.”
Thomas Morel tells the story of subterranean geometry, a forgotten discipline that developed in the silver mines of early modern Europe. Mining and metallurgy were of great significance to the rulers of early modern Europe, required for the silver bullion that fuelled warfare and numerous other uses. Through seven lively case studies, he illustrates how geometry was used in metallic mines by practitioners using esoteric manuscripts. He describes how an original culture of accuracy and measurement paved the way for technical and scientific innovations, and fruitfully brought together the world of artisans, scholars and courts. Based on a variety of original manuscripts, maps and archive material, Morel recounts how knowledge was crafted and circulated among practitioners in the Holy Roman Empire and beyond. Specific chapters deal with the material culture of surveying, map-making, expertise and the political uses of quantification. By carefully reconstructing the religious, economic and cultural context of mining cities, Underground Mathematics contextualizes the rise of numbered information, practical mathematics and quantification in the early modern period.
The wartime diaries of Fred Lodge underscore his perilous passage through World War 2 including the Dieppe Raid and three years as a POW in Germany. Fred was a quiet, kind, considerate and courageous young Canadian who trained in Canada as an infantry soldier; practiced his military skills in England; waded onshore at Pourville, France on August 19th, 1942; survived intense German gunfire; saw his buddies killed, maimed, indeed slaughtered. Somehow he survived that awful day at Dieppe and was transported to Stalag VIIIB and later to Stalag IIC in eastern Germany. As a POW he was often hungry, bored, shamed, shackled, witnessed summary executions and was forced to participate in a death march in early, 1945. Through it all Fred Lodge was courageous and true to his beliefs no matter what obstacles, temptations or mistreatment came his way. He always did his best and the "right" thing. Fred didn't hate Germans although he had no respect for inhumane NAZI zealots. With the Russian Army fast approaching, Canadian POWs were evacuated westwards in January,1945 in bone-chilling cold and snow. Over four months they were marched west with little food, no warm clothing, little shelter and no reason to think they might survive. However, Fred and most of his fellow POWs did survive and in late April, 1945 they were liberated and returned to England. Somehow Fred Lodge remained the same quiet, kind, considerate and courageous man he was at the beginning. This story, as told by Fred Lodge himself, is a gripping tale. He passed through the hell of war and emerged whole, could you do the same?
This book is the first study of the development of German opera in northern Germany from the first comic operas of Johann Adam Hiller at Leipzig in 1766 to the end of the century. Intellectually and historically, the period witnessed the flowering of the German stage and German letters. German opera was an inseparable part of the new aspirations of the German stage during the Enlightenment. Thomas Bauman stresses the vital role of the mixed repertories of German companies in effecting changes in the genre. North German opera began as a basically literary genre. It then changed dramatically in response to two major trends: first, the contact with the serious elements and styles of tragedy and secondly, the triumph on German stages of Italian, French, and Viennese comic operas. The book is generously illustrated with music examples. There is also a complete catalogue of texts of North German opera: those composed for performance and unset published librettos both cross-indexed under the librettists' names.
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