G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
Collaborative Form attempts to show the nature and limits of works of art that are made up of two or more artistic forms. The first task of this book is to analyze and interpret a set of such combinations. Each chapter treats one collaborative work and attempts to show that the principles of collaboration are the same, whether the components are poetry and graphic works as in Lettera Amorosa by Rene Char and George Braque, poetry and music as in Herzgewachse by Maurice Maeterlinck and Arnold Schoenberg, or more complex sets that include painting, music, dance, lighting, and drama as in Der gelbe Klang by Wassily Kandinsky, Morder, Hoffnung der frauen by Oskar Kokoschka, and Triad by Alwin Nikolais. Hines breaks down disciplinary barriers and then emphasizes the effects of the interactions between the arts. The first step, in methodology, is that of refusing to make a priori commitments to the critical methodologies of the arts involved. Each art is treated from its own perspective, and each interpretation attends to interactions of the arts rather than to the contribution of any one art. Once the collaborative works are examined, the book shows that such works are similar to other art forms. They obey the laws of temporal necessity, non-addition, multiple interpretation, and unity that any poem, painting, or musical composition might be said to obey. Unlike other arts though, collaborative forms are unique examples of the combinative effects of the arts. In the process of interpreting individual works and attempting to summarize this form, we are forced to see beyond the conventions of the constituent arts.
G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
Drawing on primary sources made available to scholars only after the archives of the Holy Office were unsealed in 1998, Negotiating Darwin chronicles how the Vatican reacted when six Catholics—five clerics and one layman—tried to integrate evolution and Christianity in the decades following the publication of Darwin's Origin of Species. As Mariano Artigas, Thomas F. Glick, and Rafael A. Martínez reconstruct these cases, we see who acted and why, how the events unfolded, and how decisions were put into practice. With the long shadow of Galileo's condemnation hanging over the Church as the Scientific Revolution ushered in new paradigms, the Church found it prudent to avoid publicly and directly condemning Darwinism and thus treated these cases carefully. The authors reveal the ideological and operational stance of the Vatican and describe its secret deliberations. In the process, they provide insight into current debates on evolution and religious belief.
Concepts of historical progress or decline and the idea of a cycle of historical movement have existed in many civilizations. In spite of claims that they be transnational or even universal, periodization schemes invariably reveal specific social and cultural predispositions. Our dialogue, which brings together a Sinologist and a scholar of early modern History in Europe, considers periodization as a historical phenomenon, studying the case of the “Renaissance.” Understood in the tradition of J. Burckhardt, who referred back to ideas voiced by the humanists of the 14th and 15th centuries, and focusing on the particularities of humanist dialogue which informed the making of the “Renaissance” in Italy, our discussion highlights elements that distinguish it from other movements that have proclaimed themselves as “r/Renaissances,” studying, in particular, the Chinese Renaissance in the early 20th century. While disagreeing on several fundamental issues, we suggest that interdisciplinary and interregional dialogue is a format useful to addressing some of the more far-reaching questions in global history, e.g. whether and when a periodization scheme such as “Renaissance” can fruitfully be applied to describe non-European experiences.
G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
new pictures from paradise : [published on the occasion of the exhibition "Thomas Struth - New Pictures from Paradise", University of Salamanca (Centro de Fotografía) February 27 - April 14, 2002 : Staatliche Kunstsammlungen Dresden: June 14 - September 8, 2002
new pictures from paradise : [published on the occasion of the exhibition "Thomas Struth - New Pictures from Paradise", University of Salamanca (Centro de Fotografía) February 27 - April 14, 2002 : Staatliche Kunstsammlungen Dresden: June 14 - September 8, 2002
Deep in the magical semi-darkness of forests and jungles, through the impenetrable yet bright green of the trees, tangled up in tropical plants, rampant jungle vegetation, and mossy brooks, lies paradise. At least it does in Thomas Struth's New Pictures from Paradise, in which each oversize image is a mesmerizing but photographically distant haven unto itself. From Daintree, Australia to Yunnan Province, China, from the mossy valleys of Yakushima, Japan to the looming pine forests of Bavaria, Germany and the lush rainforests of Brazil, Thomas Struth has carried out his photographic expeditions. Capturing settings of so-called untamed nature, his astonishingly detailed images carry with them thoughts of environmental exploitation, the mystification of nature, and the possibility of nature as utopia. Exhibited in monumental print sizes of up to 8.75 x 11 feet, Struth's pictures are here presented in an appropriately large-scale format, accompanied by individual essays from psychologist Ingo Hartmann and art historian Hans Rudolph Reust, each of whom shines their own particular light into Struth's dense forests and jungles.
Thomas Ostermeier is one of the best-known European theatre makers and is regarded by many as "the face of modern German theatre" (DIE ZEIT). His major Ibsen productions and his "Hamlet", starring Lars Eidinger tour the globe; Berlin's Schaubühne, where he has been the artistic head since 1999, is celebrated worldwide. In conversation with Gerhard Jörder, Thomas Ostermeier describes the path that led him to the theatre, which became "a kind of life saver" after early years riddled by conflict. Self-confident and self-critical, both declarative and ruminative, he recapitulates the early triumphs of the Deutsches Theater's Baracke offshoot, his difficult start at the Schaubühne and the growing success of his politically engaged realistic theatre, particularly among young audiences. He emerges as an outspoken critic of his generation's apolitical attitude, the postmodern mainstream and the narrow aesthetic discourse of German theatre, and a passionate supporter of the permanent institutions of culture, the ensemble concept and creative work with actors – the core of an understanding of contemporary theatre that focuses on people rather than forms.
G. I. Gurdjieff travelled for many years through Central Asia and the Middle East collecting melodies and ritual dances, which his friend and pupil Thomas de Hartmann wrote down and arranged as piano pieces.
Over the past decade, the political ground beneath the Middle East has shifted. Arab nationalism the political orthodoxy for most of this century has lost its grip on the imagination and allegiance of a new generation. At the same time, Islam as an ideology has spread across the region, and "Islamists" bid to capture the center of politics. Most Western scholars and experts once hailed the redemptive power of Arabism. Arab Awakening and Islamic Revival is a critical assessment of the contradictions of Arab nationalism and Islamic fundamentalism, and the misrepresentation of both in the West.The first part of the book argues that Arab nationalism--the so-called Arab awakening--bore within it the seeds of its own failure. Arabism as an idea drew upon foreign sources and resources. Even as it claimed to liberate the Arabs from imperialism it deepened intellectual dependence upon the West's own romanticism and radicalism. Ultimately, Arab nationalism became a force of oppression rather than liberation, and a mirror image of the imperialism it defied. Kramer's essays together form the only chronological telling and the at fully documented postmortem of Arabism. The second part of the book examines the similar failings of Islamism, whose ideas are Islamic reworkings of Western ideological radicalism. Its effect has been to give new life to old rationales for oppression, authoritarianism, and sectarian division.Arab Awakening and Islamic Revival provides an alternative view of a century of Middle Eastern history. As the region moves fitfully past ideology, Kramer's perspective is more compelling than at any time in the past-in Western academe no less than among many in the Middle. This book will be of interest to sociologists, political scientists, economists, and Middle East specialists.
Friedrich Nietzsche was immensely influential and, counter to most expectations, also very well read. An essential new reference tool for those interested in his thinking, Nietzsche’s Philosophical Context identifies the chronology and huge range of philosophical books that engaged him. Rigorously examining the scope of this reading, Thomas H. Brobjer consulted over two thousand volumes in Nietzsche’s personal library, as well as his book bills, library records, journals, letters, and publications. This meticulous investigation also considers many of the annotations in his books. In arguing that Nietzsche’s reading often constituted the starting point for, or counterpoint to, much of his own thinking and writing, Brobjer’s study provides scholars with fresh insight into how Nietzsche worked and thought; to which questions and thinkers he responded; and by which of them he was influenced. The result is a new and much more contextual understanding of Nietzsche's life and thinking.
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