Das "lange 19. Jahrhundert" der Nationalstaatenbildung ist auch das Jahrhundert der "Erfindung" der Fotografie wie auch der Geburt der modernen Archivwissenschaften. Die Fotografie wurde bald von den Nationalstaaten in ihrem Bedürfnis nach bildlicher Visualisierung in den Dienst genommen. Nach dem II. Weltkrieg, dem Zerfall der kolonialistischen Systeme und schließlich dem Fall der Berliner Mauer erlangten nationale Fragen erneut Aktualität - nun in einem globalen Rahmen. Die Beiträge in diesem Band untersuchen den Zusammenhang zwischen Fotografie/Fotoarchiven und der Idee der Nation, wobei das Objektiv sich nicht auf einzelne Ikonen, sondern auf die weitreichende Dimension des Archivs richtet.
“Tackles novelist Elena Ferrante’s Neapolitan quartet in terms of their ‘creative forms of [female] resistance’ . . . A richly layered study.” —Kirkus Reviews “I greatly admire the work of Tiziana de Rogatis. She is a reader of deep refinement. Often I think that she knows my books better than I. So, I read her with admiration and remain silent.” —Elena Ferrante, in the magazine, San Lian Sheng Huo Zhou Kan Ferrante’s four-volume novel cycle known in English as the Neapolitan quartet has become a global success, with over ten million readers in close to fifty countries. Her readers recount feeling “addicted” to the novels; they describe a pleasure in reading that is as rare as it is irresistible, a compulsion that leads them either to devour the books or to ration them so as to prolong the pleasure. De Rogatis here addresses that same transnational, diverse, transversal audience. Elena Ferrante’s Key Words is conceived as a lighted path made of luminous key words that synthesize the multiform aspects of Ferrante’s writing and guide us through the labyrinth of her global success. “An exceptional companion to the source material, particularly for the lit-crit crowd looking to affirm Ferrante’s reinvention of the future of the novel.” —Library Journal
Discover how to gain (and keep) power in any situation with this “remarkably insightful read on what power is, how it’s gained, and how it can be used for good” (Adam Grant, bestselling author of Think Again). Power is one of the most misunderstood—and therefore vilified—concepts in our society. Many assume power is predetermined by personality or wealth, or that it’s gained by strong-arming others. You might even write it off as “dirty” and want nothing to do with it. But by staying away from power, you give it up to someone else who may not have your best interest in mind. We must understand and use our power to have impact, and pioneering researchers Julie Battilana and Tiziana Casciaro provide the playbook for doing so in Power, for All. Battilana and Casciaro offer a “necessary” (Tarana Burke, creator of the #MeToo movement and bestselling author of Unbound) and “invaluable” (David Gergen, CNN political analyst) vision of power: the ability to influence someone else’s behavior. This influence is derived from having access to valued resources, and once you understand what those are, you can take action to improve life for yourself and others. With proven strategies of agitating, innovating, and orchestrating change, Power, for All shows how those with less power can challenge established structures to make them more balanced. The authors teach you how to power-map your workplace to find who can create real change at work, plan for and cause sustaining shifts, and understand the two basic needs all human beings share—safety and self-esteem—and the resources people seek to satisfy those needs: money and status, but also autonomy, achievement, affiliation, and mortality. They explore how these dynamics play out through vivid storytelling: as Donatella Versace successfully leads her brother’s company after his death—despite having a title, but little influence; what social movements can learn from youth climate activists and how they can go farther; and how a manager can gain the trust of skeptical employees and improve the workplace. Power, for All demystifies the essential mechanisms for acquiring and using power for all people.
In Recent Italian Cinema, two fundamental questions are asked: the first concerns whether Italian cinema, as national cinema, is in reality reduced to a niche market in its own territory. The second relates to what Italian audiences do with domestic films.For nearly two decades, most Italian films have been produced outside box office returns, through a practice of subsidy and co-financing between many institutional and private entities. Thus Italian cinema has had to define its mode of production and use-value of films in a different way. It is clear that it is no longer possible to separate national cinemas from the grip that the American film industry has on world markets, in terms of imagination and modes of production, distribution and exhibition. It is thus only by examining the multiple layers of description and analysis, which take into account the presence of Hollywood, that we can come to an understanding of what recent Italian cinema actually is.
Chinese comparative literature has a great representative in the contemporary scholar and writer Qian Zhongshu (1910-1998). His comparative method defies every categorization and his extensive use of quotations in seven languages - the main characteristic of his style - creates a collage of literary motifs and genres that constitutes a fertile field for analysis to grasp the general principles of world literature. Italian quotations and the influence of Italian literature on the comparative method of Qian Zhongshu are the main concern of this analysis, and are a topic never before dealt with in mainland and overseas Qian Xue studies. The study outlines the threads that move Qian Zhongshu in the choice of authors and works that constitute, in quotation, the core of his method and answers questions on the necessity of such a consistent use of quotations and on the role that foreign literatures, with a focus on the Italian one, have in the definition of a comparative method that seems to be all-inclusive and difficult to grasp. To seize an understanding of the principles that lead global literature in an enhancement of mutual comprehension between countries and peoples seems a desirable yet unrealistic goal: Qian Zhongshu, through his use of quotations to establish a dialogue between different historical epochs and distant spatial settings, wants to demonstrates that this desire is attainable.
Das "lange 19. Jahrhundert" der Nationalstaatenbildung ist auch das Jahrhundert der "Erfindung" der Fotografie wie auch der Geburt der modernen Archivwissenschaften. Die Fotografie wurde bald von den Nationalstaaten in ihrem Bedürfnis nach bildlicher Visualisierung in den Dienst genommen. Nach dem II. Weltkrieg, dem Zerfall der kolonialistischen Systeme und schließlich dem Fall der Berliner Mauer erlangten nationale Fragen erneut Aktualität - nun in einem globalen Rahmen. Die Beiträge in diesem Band untersuchen den Zusammenhang zwischen Fotografie/Fotoarchiven und der Idee der Nation, wobei das Objektiv sich nicht auf einzelne Ikonen, sondern auf die weitreichende Dimension des Archivs richtet.
This artist's book by the influential but deliberately elusive Dusseldorf conceptual photographer features a series of pictures of a woman putting on her makeup. A peer of Gerhard Richter, Bernd & Hilla Becher and Joseph Beuys, Feldmann helped pave the way for artists like Richard Prince, Sherrie Levine and Christopher Williams.
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