Search results for ""Author BOCK"

In his work, Veit Mette (*1961) deconstructs and reconstructs imagery. For example, he projects photographs from the collections of Kunsthalle Karlsruhe and the Peter August Böckstiegel Museum onto heads and bodies which he presents both digitally and in physical exhibitions. For his latest work, he visited a specialised facility for patients with eating disorders, the Klinik am Korso, to explore issues relating to our public image and self-image. Patients were asked to select images from the painting collection at Staatliche Kunsthalle Karlsruhe, which were then projected onto their faces. Texts written by the men and women who were photographed accompany the images. Text in English and German.

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Possibly the most popular single pattern of ceramic dishes is Willow Ware and this new book tells its complete story. Stemming from ancient Chinese origins, the blue transfer pattern became standardized in the early nineteenth century in England and has gone on to be interpreted in many variations to the present in America, Europe and Asia. Today, collectors can find examples in many markets of old and new wares, so their search is often happily rewarded. This book will enable them to sort out the makers, dates, marks and range of values they encounter. Hundreds of clear color photographs show the many styles and range of quality. The price guide reflects the current market.

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In the work of Joseph Mallord William Turner (1775–1851) lies an impact akin to a sudden acquisition of sight. His landscapes and seascapes scorch the eye with such ravishing light and color, with such elemental force, it is as if the sun itself were gleaming out of the frame. Appropriately known as “the painter of light,” Turner worked in print, watercolor, and oils to transform landscape from serene contemplative scenes to pictures pulsating with life. He anchored his work to the River Thames and to the sea, but in the historical context of the Industrial Revolution, also integrated boats, trains, and other markers of human activity, which juxtaposes the thrust of civilization against the forces of nature. This book covers Turner’s illustrious, wide-ranging repertoire to introduce an artist who combined a traditional genre with a radical modernism.

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Please Don't Brand My Public Space is a critical investigation of the visual strategies employed to identify and brand political territories. Isn't it about time to look at their often banal images as part of a crisis of political representation? In the context of a revival of xenophobic propaganda on the one hand and the degradation of places into pure marketing products on the other, it is possible to recognize an increasingly theatrical, unquestioned production of public signs and symbols. Essays on the theme by political scientists, designers, and sociologists make reference to the three visual essays that are at the heart of the book: "The Noticeable Absence of a Flag of the Earth" by Ruedi Baur, "Depictions of Federalism and Nationalism: Comparing the Former Yugoslavia, Switzerland, and Belgium" by Irena Bockaj, and "European Capitals in Competition" by Maria Roskowska. The publication is released in collaboration with Civic City (HEAD Geneve) and the research program A"Ecrire la villeA" (Ensadlab, Paris).

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Ludwig I., der Gründer der Neuen Pinakothek, hat neben seiner Sammlung zeitgenössischer Malerei von Angelika Kauffmann bis Arnold Böcklin auch Skulpturen bedeutender Bildhauer wie Antonio Canova und Bertel Thorvaldsen angekauft. Hinzu kamen etliche Büsten von Bildhauern wie Christian Daniel Rauch und Friedrich Tieck, die ursprünglich für die Walhalla oder die Ruhmeshalle bestimmt waren. Schließlich ließ der König durch Bildhauer wie Johann Halbig zahlreiche Dichter sowie Maler porträtieren, von denen er zuvor Gemälde erworben hatte. Auf diese Weise entstand eine außergewöhnliche Sammlung von Porträtbüsten aus Gips, die als Pantheon zeitgenössischer Künstler in der Neuen Pinakothek aufgestellt war. Alle diese Skulpturen aus der Sammlung Ludwigs I. wurden nun erstmals wissenschaftlich bearbeitet. Der vorliegende Band, der erste des auf drei Bände angelegten Bestandskataloges sämtlicher Skulpturen des 19. Jahrhunderts in der Neuen Pinakothek, stellt die Werke in farbigen Neuaufnahmen vor und beleuchtet den Kontext ihrer Entstehung.

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In his On the Glory of Athens, Plutarch complained that the Athenian people spent more on the production of dramatic festivals and “the misfortunes of Medeas and Electras than they did on maintaining their empire and fighting for their liberty against the Persians.” This view of the Athenians’ misplaced priorities became orthodoxy with the publication of August Böckh’s 1817 book Die Staatshaushaltung der Athener [The Public Economy of Athens], which criticized the classical Athenian dēmos for spending more on festivals than on wars and for levying unjust taxes to pay for their bloated government. But were the Athenians’ priorities really as misplaced as ancient and modern historians believed?Drawing on lines of evidence not available in Böckh’s time, Public Spending and Democracy in Classical Athens calculates the real costs of religion, politics, and war to settle the long-standing debate about what the ancient Athenians valued most highly. David M. Pritchard explains that, in Athenian democracy, voters had full control over public spending. When they voted for a bill, they always knew its cost and how much they normally spent on such bills. Therefore, the sums they chose to spend on festivals, politics, and the armed forces reflected the order of the priorities that they had set for their state. By calculating these sums, Pritchard convincingly demonstrates that it was not religion or politics but war that was the overriding priority of the Athenian people.

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In this wide-ranging historical introduction to philosophical hermeneutics, Jean Grondin discusses the major figures from Philo to Habermas, analyzes conflicts between various interpretive schools, and provides a persuasive critique of Gadamer's view of hermeneutic history, though in other ways Gadamer's Truth and Method serves as a model for Grondin's approach.Grondin begins with brief overviews of the pre-nineteenth-century thinkers Philo, Origen, Augustine, Luther, Flacius, Dannhauer, Chladenius, Meier, Rambach, Ast, and Schlegel. Next he provides more extensive treatments of such major nineteenth-century figures as Schleiermacher, Böckh, Droysen, and Dilthey. There are full chapters devoted to Heidegger and Gadamer as well as shorter discussions of Betti, Habermas, and Derrida. Because he is the first to pay close attention to pre-Romantic figures, Grondin is able to show that the history of hermeneutics cannot be viewed as a gradual, steady progression in the direction of complete universalization. His book makes it clear that even in the early period, hermeneutic thinkers acknowledged a universal aspect in interpretation—that long before Schleiermacher, hermeneutics was philosophical and not merely practical. In revising and correcting the standard account, Grondin's book is not merely introductory but revisionary, suitable for beginners as well as advanced students in the field.

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It was a tradition with the Hardy family, late on Christmas Eve, for the local singers and musicians gather together at the family home at Higher Bockhampton for a glass of cider and a warming by the log fire. Meanwhile, they prepared their music scores and candles, prior to setting out on foot to entertain the locals by serenading them with Christmas carols at their front doors. The musicians included Hardy’s father Thomas (violin), and his grandfather Thomas (cello). Hardy recreated this scene in his novel Under the Greenwood Tree (published in 1872), where ‘Hardy’ became ‘Dewy’, the cottage ‘Lewgate’, and the choir, the ‘Mellstock Quire’. Although Hardy had difficulty in embracing the Christian faith, he adored it’s joyous traditions, reliving them vicariously in Under the Greenwood Tree, and so may we!

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Outlining both historical foundations and the latest research trends, this Research Handbook offers a unique and cutting-edge overview of the numerous avenues to responsible management. Opening with a conceptual mapping of the field, thought leaders such as Henry Mintzberg and Archie Carroll present foundational and controversial views. Frameworks such as sustainability management, responsible leadership, humanistic and biomimetic management are introduced. Glocal approaches include responsible management with Chinese characteristics, West African Yoruba, and American Pragmatism. Exploring frameworks for the responsible management process, such as theories of practice, and for responsible management learning and innovation, readers are introduced to key methods responsible management research, such as participatory action research. Groundbreaking in scope and depth, this Handbook caters to the responsible management research community, particularly to the Academy of Management and to United Nations PRME signatory business schools. Policymakers and practitioners will benefit from its insight into the latest advances in responsible management research. Contributors include: N.J. Adler, S. Almeida, O. Andrianova, E. Antonacopoulou, J.M. Bartunek, M. Beckmann, A.J. Beveridge, L. Bizzi, V. Blok, N. Bocken, L. Carollo, A.B. Carrol, R. Colbourne, M. Constantinescu, F. Cooren, S. Dmitrieva, S. Dmytrev, R.E. Freeman, P. Fu, M. Gentile, S. Gherardi, L. Godwin, J.F.S. Gomes, M. Guerci, T. Hahn, E. Iñigo, D. Jamali, H. Jiang, D.A. Jones, M. Kaptein, S. Kennedy, D. King, N. Kuriyama, O. Laasch, C. Land, N.E. Landrum, K. Langmead, T.B. Long, S. Looser, J. Mair, M. Manidis, T.M.G. Marques, L. McCarthy, T. Mead, D. Melé, S. Mena, J.P. Mika, H. Mintzberg, N. Nguyen, W. Ocasio, O. Ogechi, K. Ogunyemi, E. Osagie, T. Padan, S. Parker, I. Pavez, M. Pirson, O.M. Price, S. Pulcher, Q. Qu, M. Racz, N. Radoynovska, A. Rasche, H. Rintamäki, D.E. Rupp, S. Schaltegger, A. Strati, C. Stutz, R. Suddaby, C. Tams, S. Tams, H. Trittin, C. Van der Byl, E. van Mil, R. van Tulder, S. Waddock, R. Wesselink, C.R. Willness, B. Yang, I. Yi Ren

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Inseln sind Orte der Sehnsucht; sie entwickeln ihre Anziehungskraft durch ihre Abgeschiedenheit. Von bildenden Künstlern wurden sie, anders als von Schriftstellern, vergleichsweise spät entdeckt: Antoine Watteaus Einschiffung nach Kythera und die Künstler, die im wissenschaftlichen Auftrag mit James Cook bis nach Tahiti reisten, markieren zentrale Momente der künstlerischen Inselentdeckung. Inseln in der Kunst sind ein Phänomen der Moderne und eine Konstruktion. Von Anfang an agierten die Künstler dabei zwischen Mythos, Ideal, Kolonialismus und dem beginnenden Tourismus. Im 19. Jahrhundert wurden Inseln dann zum Identifikationsort für den modernen Künstler, für dessen Autonomie oder seine Freiheit von gesellschaftlichen Zwängen wie etwa im Werk von Arnold Böcklin und Paul Gauguin.

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Outlining both historical foundations and the latest research trends, this Research Handbook offers a unique and cutting-edge overview of the numerous avenues to responsible management. Opening with a conceptual mapping of the field, thought leaders such as Henry Mintzberg and Archie Carroll present foundational and controversial views. Frameworks such as sustainability management, responsible leadership, humanistic and biomimetic management are introduced. Glocal approaches include responsible management with Chinese characteristics, West African Yoruba, and American Pragmatism. Exploring frameworks for the responsible management process, such as theories of practice, and for responsible management learning and innovation, readers are introduced to key methods responsible management research, such as participatory action research. Groundbreaking in scope and depth, this Handbook caters to the responsible management research community, particularly to the Academy of Management and to United Nations PRME signatory business schools. Policymakers and practitioners will benefit from its insight into the latest advances in responsible management research. Contributors include: N.J. Adler, S. Almeida, O. Andrianova, E. Antonacopoulou, J.M. Bartunek, M. Beckmann, A.J. Beveridge, L. Bizzi, V. Blok, N. Bocken, L. Carollo, A.B. Carrol, R. Colbourne, M. Constantinescu, F. Cooren, S. Dmitrieva, S. Dmytrev, R.E. Freeman, P. Fu, M. Gentile, S. Gherardi, L. Godwin, J.F.S. Gomes, M. Guerci, T. Hahn, E. Iñigo, D. Jamali, H. Jiang, D.A. Jones, M. Kaptein, S. Kennedy, D. King, N. Kuriyama, O. Laasch, C. Land, N.E. Landrum, K. Langmead, T.B. Long, S. Looser, J. Mair, M. Manidis, T.M.G. Marques, L. McCarthy, T. Mead, D. Melé, S. Mena, J.P. Mika, H. Mintzberg, N. Nguyen, W. Ocasio, O. Ogechi, K. Ogunyemi, E. Osagie, T. Padan, S. Parker, I. Pavez, M. Pirson, O.M. Price, S. Pulcher, Q. Qu, M. Racz, N. Radoynovska, A. Rasche, H. Rintamäki, D.E. Rupp, S. Schaltegger, A. Strati, C. Stutz, R. Suddaby, C. Tams, S. Tams, H. Trittin, C. Van der Byl, E. van Mil, R. van Tulder, S. Waddock, R. Wesselink, C.R. Willness, B. Yang, I. Yi Ren

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In 2002, as Sierra Leone prepared to announce the end of its brutal civil war, the distinguished anthropologist, poet, and novelist Michael Jackson returned to the country where he had intermittently lived and worked as an ethnographer since 1969. While his initial concern was to help his old friend Sewa Bockarie (S. B.) Marah—a prominent figure in Sierra Leonean politics—write his autobiography, Jackson’s experiences during his stay led him to create a more complex work: In Sierra Leone, a beautifully rendered mosaic integrating S. B.’s moving stories with personal reflections, ethnographic digressions, and meditations on history and violence. Though the Revolutionary United Front (R.U.F.) ostensibly fought its war (1991–2002) against corrupt government, the people of Sierra Leone were its victims. By the time the war was over, more than fifty thousand were dead, thousands more had been maimed, and over one million were displaced. Jackson relates the stories of political leaders and ordinary people trying to salvage their lives and livelihoods in the aftermath of cataclysmic violence. Combining these with his own knowledge of African folklore, history, and politics and with S. B.’s bittersweet memories—of his family’s rich heritage, his imprisonment as a political detainee, and his position in several of Sierra Leone’s post-independence governments—Jackson has created a work of elegiac, literary, and philosophical power.

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While antiliberal legal theorist Carl Schmitt has long been considered by Europeans to be one of this century’s most significant political philosophers, recent challenges to the fundamental values of liberal democracies have made Schmitt’s writings an unavoidable subject of debate in North America as well. In an effort to advance our understanding not only of Schmitt but of current problems of liberal democracy, David Dyzenhaus presents translations of classic German essays on Schmitt alongside more recent writings by distinguished political theorists and jurists. Neither a defense of nor an attack on Schmitt, Law as Politics offers the first balanced response to his powerful critique of liberalism.One of the major players in the 1920s debates, an outspoken critic of the Versailles Treaty and the Weimar Constitution, and a member of the Nazi party who provided juridical respectability to Hitler’s policies, Schmitt contended that people are a polity only to the extent that they share common enemies. He saw the liberal notion of a peaceful world of universal citizens as a sheer impossibility and attributed the problems of Weimar to liberalism and its inability to cope with pluralism and political conflict. In the decade since his death, Schmitt’s writings have been taken up by both the right and the left and scholars differ greatly in their evaluation of Schmitt’s ideas. Law as Politics thematically organizes in one volume the varying engagements and confrontations with Schmitt’s work and allows scholars to acknowledge—and therefore be in a better position to negotiate—an important paradox inscribed in the very nature of liberal democracy.Law as Politics will interest political philosophers, legal theorists, historians, and anyone interested in Schmitt’s relevance to current discussions of liberalism.Contributors. Heiner Bielefeldt, Ronald Beiner, Ernst-Wolfgang Bockenforde, Renato Cristi, David Dyzenhaus, Robert Howse, Ellen Kennedy, Dominique Leydet, Ingeborg Maus, John P. McCormick, Reinhard Mehring, Chantal Mouffe, William E. Scheuerman, Jeffrey Seitzer

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Nunca antes se había analizado en lengua española de manera tan extensa como en este libro, formalmente también original, el objeto, el método y las fuentes de la Historia Constitucional, su relación con otros saberes afines, su situación en lo que respecta a su investigación y enseñanza, y las posibilidades de escribir una necesaria Historia Constitucional europea.Tras unas reflexiones metodológicas previas, a cargo de Joaquín Varela Suanzes-Carpegna, el corazón de la obra lo componen las cuatro largas entrevistas que este historiador del constitucionalismo ha realizado a Ernst-Wolfgang Böckenförde, Michel Troper, Maurice Vile y Maurizio Fioravanti. En ellas se pone de relieve la pluralidad de saberes (jurídicos, históricos, filosóficos, sociológicos y politológicos) que concurren en la Historia Constitucional, a la par que permiten conocer de la mano de estos grandes maestros cuatro áreas muy relevantes de la historiografía constitucional mundial: la alemana, la francesa, la angl

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Conrad Felixmüller (1897–1977) is regarded as one of the most important representatives of the Second Generation of German Expressionism. He celebrated initial major successes with his art during the Weimar Republic. This volume illustrates the life and work of this unusual artist, whose creative career reflects more than half a century of art and contemporary history. In January 1919 Felixmüller founded the avant-garde Dresdner Sezession Gruppe 1919, whose members also included Otto Dix and Peter August Böckstiegel as well as other fellow artists. The works from the early 1920s reflect not only his interest in these people but also his political commitment. Under National Socialism Felixmüller’s works were proscribed as “degenerate”; after 1945 he endeavoured to continue his work in the GDR, albeit under new auspices. Ten years before his death, Felixmüller moved to West Berlin, where he lived to see the rediscovery of his work.

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Alain Huck, born 1957, lives and works in francophone Switzerland. Following his degree in Fine Arts at the Ecole cantonale des beaux-arts Lausanne (ECAL) he became a founding member of the M/2 artists collective in Vevey in 1987, with whom he worked for four years. He has been working on his own since 1990, creating a body of polymorphous works in a variety of media: painting, photography, drawing, video, often using text as well. In 2006 Huck started to work on an extensive series of very large-scale charcoal drawings, titled Salons noirs. This corpus now comprises nearly 80 compositions, in which the artist has superimposed different images, combined and confused within a mobile, blurred vision that is occasionally reiterated. This new book for the first time presents the entire series, completed by a selection of other recent works by Alain Huck. Julie Enckell Julliard's essay examines the 'Salons noirs' and suggests ways of approaching them, and also refers to the various relations of Huck's work to that of other artists, such as Albrecht Durer, Arnold Bocklin, Robert Longo, or Gerhard Richter.

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The mainstreaming of pornographic imagery into fashion and popular culture at the turn of the millennium in Britain and the US signalled a dramatic cultural shift in construction of both femininity and masculinity. For men and women, raunch became the new cool. This engaging book draws from a diverse range of examples including film, popular tabloids, campus culture, mass media marketing campaigns, facebook profiles, and art exhibits to explore expressions and meanings of porn chic. Bringing a cultural and feminist lens to the material, this book challenges the reader to question the sexual agency of the 12-year-old girl dressed to seduce in fashions inspired by Katie Price, the college co-ed flashing her breasts for a film maker during Spring break, and the waitress making her customer happy with chicken wings and a nice set of Hooters. Further it explores the raunchy bad boys being paid handsomely to tell the world about their sexual exploits, online, on film, and in popular press bestsellers. The book also contains thought-provoking artwork by Nicola Bockelmann which focuses on the permeable border between pornography and mainstream culture and urges viewers to question everyday explicitness. Balancing a popular culture approach and a strong analytic lens, Porn Chic will engage a wide audience of readers interested in popular culture, fashion, and gender studies.

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The inspirational genius of Germany explores the neglected issue of the cultural influence of Germany upon Britain between 1850 and 1939. While the impact on Britain of German Romanticism has been extensively mapped, the reception of the more ideologically problematic German culture of the later period has been neither fully explained or explored. After the 1848 revolutions, Germany experienced a period of political and economic growth which not only saw it achieving Unification in 1871 but also challenging the industrial and imperial supremacy of Britain at the dawn of the twentieth century. Matthew Potter uses images, art criticism, and the public writings and private notes of artists to reconstruct the intellectual history of Germanism during a period of heightened nationalism and political competition. Key case studies explore the changing shape of intellectual engagements with Germany. It examines the German experts who worked on the margins of the Pre-Raphaelite circle, the engagements of Victorian 'academics' including Frederic Leighton, G.F. Watts, Walter Crane and Hubert Herkomer as well as avant-gardists like the Vorticists, the reception of Arnold Böcklin and Wassily Kandinsky by the Britons during the dawn of modern art, and the last gasp of enthusiasm for German art that took place in defiance of the rise of Nazism in the 1930s.

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