Search results for ""author hans ulrich""

Anyone who has ever experienced a sporting event in a large stadium knows the energy that emanates from stands full of fans cheering on their teams. Although "the masses" have long held a thoroughly bad reputation in politics and culture, literary critic and avid sports fan Hans Ulrich Gumbrecht finds powerful, as yet unexplored reasons to sing the praises of crowds. Drawing on his experiences as a spectator in the stadiums of South America, Germany, and the US, Gumbrecht presents the stadium as "a ritual of intensity," thereby offering a different lens through which we might capture and even appreciate the dynamic of the masses. In presenting this alternate view, Gumbrecht enters into conversation with thinkers who were more critical of the potential of the masses, such as Gustave Le Bon, Friedrich Nietzsche, Sigmund Freud, José Ortega y Gasset, Elias Canetti, Siegfried Kracauer, T. W. Adorno, or Max Horkheimer. A preface explores college crowds as a uniquely specific phenomenon of American culture. Pairing philosophical rigor with the enthusiasm of a true fan, Gumbrecht writes from the inside and suggests that being part of a crowd opens us up to an experience beyond ourselves.

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Text in English & German. If laziness is the mother of all inventions, then the car is its masterpiece. The earliest means of locomotion was walking, followed by riding on horses or camels; finally, with the invention of the wheel, came the ability to use carriages, which not only made locomotion far more comfortable but also brought the transportation of goods to a whole new level. However, it then took millennia for carriages to go from being propelled by horses or oxen to engines, initially steam-driven, then propelled by internal combustion engines and early experiments with electric propulsion. Cars were initially the result of pure craftsmanship, and as passenger cars were based on the concept of the carriage. The assembly line had not entirely abandoned the carriage look, but already showed a typical automobile profile: equal-sized wheels, engine bonnet, passenger compartment. The predominant body colour of cars manufactured between 1910 and 1930 was black, while all makes of car had an almost uniform appearance. As manufacturers moved away from metal-panelled wooden frames to an all-steel design, they hesitantly ventured to adopt new forms. Improved undercarriages and higher engine performance were initially limited by air resistance, which above a speed of 60 kilometres per hour is the strongest of all driving resistances. This led to the development of new body shapes that offer less resistance to the airstream. Engineers still determined the form of the car, sometimes even achieving formal elegance. It was only rarely that members of other professions, such as the architects Le Corbusier or Walter Gropius, were commissioned to design a car. Between the two World Wars North America had the worlds largest fleet of cars; this also meant that their design became an increasingly important sales factor. Professsional automobile design was established. As they continued to develop technically, cars in the 1950s moved further and further away from the physically logical form of a moving body. One of the last and most outstanding examples of a form with optimum resistance to the airstream is the Citroën ID/DS of 1955. Others, indeed almost all, opted for the pure symbolism of speed and power, whose most important ingredients were tail fins and chrome. Today, with a global annual production of close to 100 million passenger cars, automotive style has come to be represented by a wide range of almost every imaginable form. Architect Hans-Ulrich von Mende has worked with partners in an independent practice since 1990. For 50 years his writings and drawings on automotive design have appeared in books, trade journals (mot, autobild) and the daily press (Frankfurter Allgemeine Zeitung, Süddeutsche Zeitung).

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This new title celebrates 50 years of the creative force of nature that is the artistic partnership of Gilbert & George. Published in cooperation with the LUMA Foundation in Arles, France, on the occasion of their retrospective exhibition on show from 2 July to 23 September 2018. The book will feature five interviews with Gilbert & George by Hans Ulrich Obrist and Daniel Birnbaum, one for each decade of their practice. This title will be heavily illustrated with examples of Gilbert & George's artworks from their early years to their most recent series. Designed by Gilbert & George themselves, The Great Exhibition will feature their trademark style and panache. Introduced by a text co-authored by Obrist and Birnbaum, this publication will also feature several extracts from Michael Bracewell's 2017 publication What is Gilbert & George?. All text will be presented in both French and English.

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What are the various atmospheres or moods that the reading of literary works can trigger? Hans Ulrich Gumbrecht has long argued that the function of literature is not so much to describe, or to re-present, as to make present. Here, he goes one step further, exploring the substance and reality of language as a material component of the world—impalpable hints, tones, and airs that, as much as they may be elusive, are no less matters of actual fact. Reading, we discover, is an experiencing of specific moods and atmospheres, or Stimmung. These moods are on a continuum akin to a musical scale. They present themselves as nuances that challenge our powers of discernment and description, as well as language's potential to capture them. Perhaps the best we can do is to point in their direction. Conveying personal encounters with poetry, song, painting, and the novel, this book thus gestures toward the intangible and in the process, constitutes a bold defense of the subjective experience of the arts.

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A Great Light is a striking catalogue published to accompany the exhibition of the same name, both testaments to British artist Brian Clarke’s widely regarded status as the most important artist working in stained glass today. Across his five-decades-long career, Clarke has consistently pushed the boundaries of stained glass as a medium in terms of technology and its visual potential. Focusing on large-scale works, A Great Light crystallises Clarke’s vision for stained glass as fundamentally architectural, his works the result of a dedicated respect for the buildings they inhabit and the surrounding contexts of his practice. The book offers a view of the impactful interaction between space and artwork, as over 130 beautifully reproduced images fill its pages and extend into the gatefolds. Published in association with Newport Street Gallery, A Great Light features 68 stained-glass artworks as well as installation shots of the final exhibition, prefaced by an interview between Clarke and world-renowned Swiss curator, art historian and critic Hans Ulrich Obrist, Artistic Director of Serpentine Galleries in London.

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In nahezu allen bekannten Liturgien der Alten Kirche ist die Taufeucharistie Ziel und Höhepunkt der Initiation. Und spätestens ab dem 2. Jahrhundert ist die Taufe die notwendige Bedingung für die Teilnahme an der Eucharistie und an den gemeindlichen Mählern. Dieser Befund setzt bestimmte Entwicklungen und Homogenisierungsprozesse in der Auffassung wie auch im rituellen Vollzug von Taufe und Herrenmahl voraus, die in den Taufgottesdiensten des 4. und 5. Jahrhunderts manifest werden. In der vorliegenden, exegetisch wie liturgiegeschichtlich angelegte Untersuchung rekonstruiert Hans-Ulrich Weidemann die Vorgeschichte dieser gegenseitigen Zuordnung von Taufe und Kultmahl auf dem Hintergrund der pluralen frühchristlichen Mahlpraxis. Im Zuge dessen werden die vorkonstantinischen Taufeucharistien, aber auch die komplexe Zuordnung von Taufe und Mahlgemeinschaft in den neutestamentlichen Texten untersucht.Zunächst wertet er die wichtigsten Quellen aus dem 2. und 3. Jh. aus: die Didache, das Zeugnis Justins, die apokryphen Petrus-, Paulus- und Thomasakten, die Pseudoclementinen, das Zeugnis Tertullians sowie die sogenannte Traditio Apostolica. Dabei wird der plurale Befund zur Taufeucharistie und zur postbaptismalen Mahlpraxis erhoben, und die Initiation mit den weiteren Angaben zur Mahl- und Eucharistiepraxis der jeweiligen Zeugnisse in Beziehung gesetzt. Im zweiten Teil analysiert er jene neutestamentlichen Textpassagen, in denen von postbaptismalen Mählern erzählt wird oder in denen Taufe und Eucharistie inhaltlich zueinander in Beziehung gesetzt werden: die Apostelgeschichte des Lukas, den ersten Korinther- und den Galaterbrief des Apostels Paulus sowie den Hebräerbrief.

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A lively examination of the life and work of one of the great Enlightenment intellectuals Philosopher, translator, novelist, art critic, and editor of the Encyclopédie, Denis Diderot was one of the liveliest figures of the Enlightenment. But how might we delineate the contours of his diverse oeuvre, which, unlike the works of his contemporaries, Voltaire, Rousseau, Schiller, Kant, or Hume, is clearly characterized by a centrifugal dynamic? Taking Hegel's fascinated irritation with Diderot's work as a starting point, Hans Ulrich Gumbrecht explores the question of this extraordinary intellectual's place in the legacy of the eighteenth century. While Diderot shared most of the concerns typically attributed to his time, the ways in which he coped with them do not fully correspond to what we consider Enlightenment thought. Conjuring scenes from Diderot's by turns turbulent and quiet life, offering close readings of several key books, and probing the motif of a tension between physical perception and conceptual experience, Gumbrecht demonstrates how Diderot belonged to a vivid intellectual periphery that included protagonists such as Lichtenberg, Goya, and Mozart. With this provocative and elegant work, he elaborates the existential preoccupations of this periphery, revealing the way they speak to us today.

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Production of Presence is a comprehensive version of the thinking of Hans Ulrich Gumbrecht, one of the most consistently original literary scholars writing today. It offers a personalized account of some of the central theoretical movements in literary studies and in the humanities over the past thirty years, together with an equally personal view of a possible future. Based on this assessment of the past and the future of literary studies and the humanities, the book develops the provocative thesis that, through their exclusive dedication to interpretation, i.e. to the reconstruction and attribution of meaning, the humanities have become incapable of addressing a dimension in all cultural phenomena that is as important as the dimension of meaning. Interpretation alone cannot do justice to the dimension of "presence," a dimension in which cultural phenomena and cultural events become tangible and have an impact on our senses and our bodies. Production of Presence is a passionate plea for a rethinking and a reshaping of the intellectual practice within the humanities.

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Considering a range of present-day phenomena, from the immediacy effects of literature to the impact of hypercommunication, globalization, and sports, Hans Ulrich Gumbrecht notes an important shift in our relationship to history and the passage of time. Although we continue to use concepts inherited from a "historicist" viewpoint, a notion of time articulated in the eighteenth and nineteenth centuries, the actual construction of time in which we live in today, which shapes our perceptions, experiences, and actions, is no longer historicist. Without fully realizing it, we now inhabit a new, unnamed space in which the "closed future" and "ever-available past" (a past we have not managed to leave behind) converge to produce an "ever-broadening present of simultaneities." This profound change to a key dimension of our existence has complex consequences for the way in which we think about ourselves and our relation to the material world. At the same time, the ubiquity of digital media has eliminated our tactile sense of physical space, altering our perception of our world. Gumbrecht draws on his mastery of the philosophy of language to enrich his everyday observations, traveling to Disneyland, a small town in Louisiana, and the center of Vienna to produce striking sketches of our broad presence in the world.

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Volcanic eruptions are the clear and dramatic expression of dynamic processes in planet Earth. The author, one of the most profound specialists in the field of volcanology, explains in a concise and easy to understand manner the basics and most recent findings in the field. Based on over 300 color figures and the model of plate tectonics, the book offers insight into the generation of magmas and the occurrence and origin of volcanoes. The analysis and description of volcanic structures is followed by process oriented chapters discussing the role of magmatic gases as well as explosive mechanisms and sedimentation of volcanic material. The final chapters deal with the forecast of eruptions and their influence on climate. Students and scientists of a broad range of fields will use this book as an interesting and attractive source of information. Laypeople will find it a highly accessible and graphically beautiful way to acquire a state-of-the-art foundation in this fascinating field. "Volcanism by Hans-Ulrich Schmincke has photos of the best quality I have ever seen in a text on the subject… In addition, the schematic figures in their wide range of styles are clear, colorful, and simplified to emphasize the most important factors while including all significant features… "I have really enjoyed reading and rereading Schmincke’s book. It fills a great gap in texts available for teaching any basic course in volcanology. No other book I know of has the depth and breadth of Volcanism… I have shared Volcanism with my colleagues to their significant benefit, and I am more convinced of its value for a broad range of Earth and planetary scientists. Undoubtedly, I will use Volcanism for my upcoming courses in volcanology. I will never hesitate to recommend it to others. Many geoscientists from very different subdisciplines will benefit from adding the book to their personal libraries. Schmincke has done us all a great service by undertaking the grueling task of writing the book – and it is much better that he alone wrote it." Stanley N. Williams, ASU Tempe, AZ (Physics Today, April 2005) "Schmincke is a German volcanologist with an international reputation, and he has done us all a great favour because he sensibly channelled his fascination with volcanoes into writing this beautifully illustrated book... [he] tackles the entire geological setting of volcanoes within the earth and the processes that form them... And, with more than 400 colour illustrations, including a huge number of really excellent new diagrams, cutaway models and maps, plus a rich glossary and references, this book is accessible to anyone with an interest in the subject." New Scientist (March 2004) "The science of volcanology has made tremendous progress over the past 40 years, primarily because of technological advances and because each tragic eruption has led researchers to recognize the processes behind such serious hazards. Yet scientists are still learning a great deal because of photographs that either capture those processes in action or show us the critical factors left behind in the rock record.Volcanism by Hans-Ulrich Schmincke has photos of the best quality I have ever seen in a text on the subject. I found myself wishing that I had had the photo of Nicaragua’s Masaya volcano, which was the subject of my dissertation, but it was Schmincke who was able to include it in his book. In addition, the schematic figures in their wide range of styles are clear, colorful, and simplified to emphasize the most important factors while including all significant features. The book’s paper is of such high quality that at times I felt I had turned two pages rather than one. I have really enjoyed reading and rereading Schmincke’s book. It fills a great gap in texts available for teaching any basic course in volcanology. No other book I know of has the depth and breadth of Volcanism. I was disappointed that the text did not arrive on my desk until last August, when it was too late for me to choose it for my course in volcanology. I am also disappointed about another fact—the book’s binding is already becoming tattered because of my intense use of it! Schmincke is a volcanologist who, in 1967, first published papers on sedimentary rocks of volcanic origin, the direction traveled by lava flows millions of years ago, and the structures preserved in explosive ignimbrites, or pumice-flow deposits, that reveal important details of their formation. Since then, his studies in Germany’s Laacher See, the Canary Islands, the Troodos Ophiolite of Cyprus, and many other regions have forged great fundamental advances. Such contributions have been recognized with his receipt of several international awards and clearly give him a strong base for writing the book. However, as a scientist who has focused on the challenges of monitoring the very diverse activities of volcanoes, I think that the text’s overriding emphasis on the rock record has its cost. The group of scientists who are struggling with their goals to reduce or mitigate the hazards of the eruptions of tomorrow need to learn more about the options of technology, instrumentation, and methodology that are currently available. More than 500 million people live near the more than 1500 known active volcanoes and are constantly facing serious threats of eruptions. An extremely energetic earthquake caused the horrific tsunamis of 2004. However, the tsunamis of 1792, 1815, and 1883, which were caused by the eruptions of Japan’s Unzen volcano and Indonesia’s Tambora and Krakatau volcanoes, each took a similar toll. " ( Stanley N. Williams, PHYSICS TODAY, April 2005)

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