Search results for ""author rainer"

Although best known as a master of the formal lyric poem, Louise Bogan (1897–1970) also published fiction and what would now be called lyrical essays. A Poet’s Prose: Selected Writings of Louise Bogan showcases her devotion to compression, eloquence, and sharp truths. Louise Bogan was poetry reviewer for the New Yorker for thirty-eight years, and her criticism was remarkable for its range and effect. Bogan was responsible for the revival of interest in Henry James and was one of the first American critics to notice and review W. H. Auden. She remained intellectually and emotionally responsive to writers as different from one another as Caitlin Thomas, Dorothy Richardson, W. B. Yeats, André Gide, and Rainer Maria Rilke. Bogan’s short stories appeared regularly in magazines during the 1930s, penetrating the social habits of the city as well as the loneliness there. The autobiographical element in her fiction and journals, never entirely confessional, spurred some of her finest writing. The distinguished poet and critic Mary Kinzie provides in A Poet’s Prose a selection of Bogan’s best criticism, prose meditations, letters, journal entries, autobiographical essays, and published and unpublished fiction. Louise Bogan won the Bollingen Prize in 1954 for her collected poems. She is the subject of the Pulitzer Prize-winning biography by Elizabeth Frank, Louise Bogan: A Portrait.

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Posthumanism synthesizes philosophical, literary, and artistic responses to technological advancements, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Amid rising social justice movements, collapsing economic structures, and the dwindling power of cultural institutions, posthumanism advances thinking on new and previously unenvisionable challenges.Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented mapping of this intellectual and aesthetic development in a global context. It features groundbreaking theorists including Donna Haraway, Rosi Braidotti, Mel Y. Chen, Michael Marder, Alexander Weheliye, Anna Tsing, Timothy Morton, N. Katherine Hayles, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, influential artists and curators such as Yvonne Rainer, Skawennati, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, and Doo-sung Yoo. These provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthumanist thinking in a time of unprecedented cultural and environmental crises.An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures.

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Colourful, emotional, impulsive and modern – these are the qualities which characterise our ideas of German Expressionist painting. It is hard to believe that the works caused a scandal when they were first created. And yet, artists and writers were united in the vision of a new beginning combined with fundamental social criticism. Many aspects like the social problems of the big city, the sleazy glamour of the world of entertainment and the rejection of new technology remain surprisingly topical to this day. Immerse yourself in the powerful images and texts of world literature and embark on a journey of discovery through the world of the early 20th century with its atmosphere of change and decay. With works by Max Beckmann, Heinrich Campendonck, Lyonel Feininger, George Grosz, Erich Heckel, Alexej von Jawlensky, Wassily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, Oskar Kokoschka, August Macke, Franz Marc, Ludwig Meidner, Paula Modersohn-Becker, Otto Mueller, Gabriele Münter, Emil Nolde, Max Pechstein, Marianne von Werefkin et al. With texts by Walter Benjamin, Gottfried Benn, Anton Chekhov, Alfred Doblin, Theodor Fontane, Oskar Maria Graf, Franz Kafka, Else Lasker-Schuler, Heinrich Mann, Klaus Mann, Thomas Mann, Robert Musil, Vladimir Nabokov, Rainer Maria Rilke, Joseph Roth, Arthur Schnitzler, Herwarth Walden, Stefan Zweig et al.

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The First World War changed the map of Europe forever. Empires collapsed, new countries were born, revolutions shocked and inspired the world. This tumult, sometimes referred to as 'the literary war', saw an extraordinary outpouring of writing. The conflict opened up a vista of possibilities and tragedies for poetic exploration, and at the same time poetry was a tool for manipulating the sentiments of the combatant peoples. In Germany alone during the first few months there were over a million poems of propaganda published. We think of war poets as pacifistic protestors, but that view has been created retrospectively. The verse of the time, particularly in the early years of the conflict-in Fernando Pessoa or Filippo Tommaso Marinetti, for example-could find in the violence and technology of modern warfare an awful and exhilarating epiphany. In this cultural history of the First World War, the conflict is seen from the point of view of poets and writers from all over Europe, including Rupert Brooke, Anna Akhmatova, Guillaume Apollinaire, Gabriele D'Annunzio, Vladimir Mayakovsky, Rainer Maria Rilke and Siegfried Sassoon. Everything to Nothing is the award-winning panoramic history of how nationalism and internationalism defined both the war itself and its aftermath-revolutionary movements, wars for independence, civil wars, the treaty of Versailles. It reveals how poets played a vital role in defining the stakes, ambitions and disappointments of postwar Europe.

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The rural is not what it used to be. No longer simply a site for agricultural production for the city, the relationship between the rural and urban has become much more complex. Established categories such as rural /urban and village/city no longer hold true. Rural and urban conditions have become increasingly blurred, so how can we identify and distinguish their specific characteristics? Where is the rural, and what role does it play in an urbanised world? In developing countries the countryside is a volatile and contradictory landscape: legally designated rural areas look like dense slums; factories intersect fields and farmers no longer farm. In contrast, in developed regions, the rural has become a highly controlled landscape of production and consumption: industrialised agriculture coexists with leisure landscapes for tourism, retirement and recreation. This issue of AD investigates how architects and researchers are critically engaging with the rural as an experimental field of exploration. Contributors: Neil Brenner, Christiane Lange, Charlotte Malterre-Barthes, Sandra Parvu, Cole Roskam, Grahame Shane, Deane Simpson, and Milica Topalovic and Bas Princen Architects: Anders Abraham, Joshua Bolchover and John Lin (Rural Urban Framework), Ambra Fabi and Giovanni Piovene (Piovenefabi), Rainer Hehl, Stephan Petermann (OMA), Huang Sheng Yuan (FieldOffice), and Sandeep Virmani (Hunnarshala)

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Creator of such acclaimed works as the performance Meat Joy and the film Fuses, for decades the artist Carolee Schneemann has saved the letters she has written and received. Much of this correspondence is published here for the first time, providing an epistolary history of Schneemann and other figures central to the international avant-garde of happenings, Fluxus, performance, and conceptual art. Schneemann corresponded for more than forty years with such figures as the composer James Tenney, the filmmaker Stan Brakhage, the artist Dick Higgins, the dancer and filmmaker Yvonne Rainer, the poet Clayton Eshleman, and the psychiatrist Joseph Berke. Her “tribe,” as she called it, altered the conditions under which art is made and the form in which it is presented, shifting emphasis from the private creation of unique objects to direct engagement with the public in ephemeral performances and in expanded, nontraditional forms of music, film, dance, theater, and literature. Kristine Stiles selected, edited, annotated, and wrote the introduction to the letters, assembling them so that readers can follow the development of Schneemann’s art, thought, and private and public relationships. The correspondence chronicles a history of energy and invention, joy and sorrow, and charged personal and artistic struggles. It sheds light on the internecine aesthetic politics and mundane activities that constitute the exasperating vicissitudes of making art, building an artistic reputation, and negotiating an industry as unpredictable and demanding as the art world in the mid- to late twentieth century.

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Representing dancers, scholars, admirers, and critics, I See America Dancing is a diverse collection of primary documents and articles about the place and shape of dance in the United States from colonial times to the present. This volume offers a lively counterpoint between observers of the dance and dancers' views of what they do when they dance. Dance traditions represented include the Native American pow-wow; tribal music and dance activities on Sunday afternoons in New Orlean's Congo Square; the colonial Playford Balls and their modern offspring, country line dancing; and the Buddhist-inspired Japanese Bon dances in Hawaii. Anti-dance perspectives include government injunctions against Native American dancing and essays from a range of speakers who have declared the waltz, the twist, or the senior prom to be a careless quick-step away from hell or the brothel.I See America Dancing examines the styles that have marked theatrical dance in America, from French ballet to minstrel shows, and presents the views of influential dancers, choreographers, and the pioneers of early modern dance in America. Specific pieces examined include George Ballanchine's ballet Stars and Stripes, Yvonne Rainer's protest piece "Flag Dance, 1970," and Sonjé Mayo's "Naked in America." Covering historical social attitudes toward the dance as well as the performers and their works, I See America Dancing is a comprehensive, scholarly sourcebook that captures the energy and passion of this vital artform.

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The twenty-first century has witnessed a resurgence of economic inequality, racial exclusion, and political hatred, causing questions of collective identity and belonging to assume new urgency. In Making Worlds, Claudia Breger argues that contemporary European cinema provides ways of thinking about and feeling collectivity that can challenge these political trends.Breger offers nuanced readings of major contemporary films such as Michael Haneke’s The White Ribbon, Alejandro González Iñárritu’s Biutiful, Fatih Akın’s The Edge of Heaven, Asghar Farhadi’s A Separation, and Aki Kaurismäki’s refugee trilogy, as well as works by Jean-Luc Godard and Rainer Werner Fassbinder. Through a new model of cinematic worldmaking, Breger examines the ways in which these works produce unexpected and destabilizing affects that invite viewers to imagine new connections among individuals or groups. These films and their depictions of refugees, immigrants, and communities do not simply counter dominant political imaginaries of hate and fear with calls for empathy or solidarity. Instead, they produce layered sensibilities that offer the potential for greater openness to others’ present, past, and future claims. Drawing on the work of Latour, Deleuze, and Rancière, Breger engages questions of genre and realism along with the legacies of cinematic modernism. Offering a rich account of contemporary film, Making Worlds theorizes the cinematic creation of imaginative spaces in order to find new ways of responding to political hatred.

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'The king is dead. Long live the king'! In early modern Europe, the king's body was literally sovereign - and the right to rule was immediately transferrable to the next monarch in line upon the king's death. In "The Royal Remains", Eric L. Santner argues that this carnal dimension of sovereignty hasn't disappeared from politics. Instead, it has migrated to a new location - the life of the people - where something royal continues to linger in the way we obsessively track and measure the vicissitudes of our flesh. Santner demonstrates the ways in which democratic societies have continued many of the rituals and practices associated with kingship in displaced, distorted, and, usually, unrecognizable forms. He proposes that those strange mental activities Freud first lumped under the category of the unconscious - which often manifest themselves in peculiar physical ways - are really the uncanny second life of these royal remains, now animated in the body politic of modern neurotic subjects. Pairing Freud with Kafka, Carl Schmitt with Hugo von Hofmannsthal, and Ernst Kantorowicz with Rainer Maria Rilke, Santner generates brilliant readings of multiple texts and traditions of thought en route to reconsidering the sovereign imaginary. Ultimately, "The Royal Remains" locates much of modernity-from biopolitical controversies to modernist literary experiments - in this transition from subjecthood to secular citizenship. This major new work will make a bold and original contribution to discussions of politics, psychoanalysis, and modern art and literature.

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How much can we know about sensory experience in the Middle Ages? While few would question that the human senses encountered a profoundly different environment in the medieval world, two distinct and opposite interpretations of that encounter have emerged-one of high sensual intensity and one of extreme sensual starvation. Presenting original, cutting-edge scholarship, Stephen G. Nichols, Andreas Kablitz, Alison Calhoun, and their team of distinguished colleagues transport us to the center of this lively debate. Organized within historical, thematic, and contextual frameworks, these essays examine the psychological, rhetorical, and philological complexities of sensory perception from the classical period to the late Middle Ages. Contributors: Marina Brownlee, Princeton University; Alison Calhoun, Johns Hopkins University; Hans Ulrich Gumbrecht, Stanford University; Daniel Heller-Roazen, Princeton University; Andreas Kablitz, Universitat zu Koln; Hildegard Elisabeth Keller, University of Zurich; Joachim Kupper, Freie Universitat Berlin; Stephen G. Nichols, Johns Hopkins University; David Nirenberg, University of Chicago; Gabrielle M. Spiegel, Johns Hopkins University; Eugene Vance, University of Washington; Gregor Vogt-Spira, Ernst-Moritz-Arndt-Universitat Greifswald; Rainer Warning, University of Munich; Heather Webb, Ohio State University; Michel Zink, College de France.

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Un libro sobre libros, viaje y paisaje, a medio camino entre el diario y el ensayo literario, bañado por la maravillosa luz del Mediterráneo italianoEn este nuevo relato viajero, el escritor Javier Reverte ha seguido un camino que nos lleva a las ciudades de Venecia y Trieste y que concluye con un recorrido por la isla de Sicilia. Y no sólo nos aproxima a la historia de los lugares que visita, sino que lo hace de la mano de cuatro escritores que habitaron en esos escenarios y que escribieron sobre ellos: Thomas Mann, James Joyce, Rainer Maria Rilke y Giuseppe de Lampedusa, cuatro autores geniales que retrataron con crudeza, o con humor desgarrado, o amargura, o ensoñación, o nostalgia, una época trágica y luminosa de la peripecia humana.Crónica de viajes y ensayo literario al mismo tiempo, Suite italiana es un libro singular, de una deslumbrante rareza, en el que resuenan los ecos de grandes batallas junto a poemas de hondo lirismo, en donde se huelen aromas de mela

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The work of poet Georg Trakl, a leading Austrian-German expressionist, has been praised by many, including his contemporaries Rainer Maria Rilke and Else Lasker-Schuler, as well as his patron Ludwig Wittgenstein. Wittgenstein famously wrote that while he did not truly understand Trakl's poems, they had the tone of a "truly ingenious person," which pleased him.A Skeleton Plays Violin comprises the final volume in a trilogy of works by Trakl published by Seagull Books. This selection gathers Trakl's early, middle, and late work, none of it published in book form during his lifetime. The work here ranges widely, from his haunting prose pieces to his darkly beautiful poems documenting the first bloody weeks of World War I on the Eastern Front. Book Three of Our Trakl the series that began with Trakl's first book Poems and his posthumously published Sebastian Dreaming also includes translations of unpublished poems and significant variants. Interpolated throughout this comprehensive and chronological selection is a biographical essay that provides more information about Trakl's gifted and troubled life, especially as it relates to his poetry, as well as the necessary context of his relationship with his favorite sibling, his sister Grete, whose role as a muse to her brother is still highly controversial. Trakl's life was mysterious and fascinating, a fact reflected in his work. A Skeleton Plays Violin should not be missed.

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We live in critical times. We face a global crisis in economics and finance, a global ecological crisis, and a constant barrage of international disputes. Perhaps most dishearteningly, there seems to be little faith in our ability to address such difficult problems. However, there is also a more positive sense in which these are critical times. The world's current state of flux gives us a unique window of opportunity for shaping a new international order that will allow us to cope with current and future global crises. In Critical Theory in Critical Times, eleven of the most distinguished critical theorists offer new perspectives on recent crises and transformations of the global political and economic order. Essays from Jurgen Habermas, Seyla Benhabib, Cristina Lafont, Rainer Forst, Wendy Brown, Christoph Menke, Nancy Fraser, Rahel Jaeggi, Amy Allen, Penelope Deutscher, and Charles Mills address pressing issues including international human rights and democratic sovereignty, global neoliberalism, novel approaches to the critique of capitalism, critical theory's Eurocentric heritage, and new directions offered by critical race theory and postcolonial studies. Sharpening the conceptual tools of critical theory, the contributors to Critical Theory in Critical Times reveal new ways of expanding the diverse traditions of the Frankfurt School in response to some of the most urgent and important challenges of our times.

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The Human Family is the first complete translation of the cycle of ten novellas that Lou Andreas-Salomé (1861–1937) wrote between 1895 and 1898. This collection contributes to the rediscovery of Andreas-Salomé’s significance as a thinker and writer, above all with regard to her literary contribution to modern feminism and the principles of women’s emancipation. Born in St. Petersburg to a German diplomat and his wife, Andreas-Salomé has always been a figure of interest because of her close relationships to influential thinkers such as Friedrich Nietzsche, Rainer Maria Rilke, and Sigmund Freud. Only since the mid-1980s, however, have her prose fiction and theoretical writings been reconsidered as important documents of emerging ideas and debates in twentieth-century feminism. The ten stories of The Human Family drive home her critical perspective on feminine stereotypes. They depict a wide variety of young women as they relate to men representing different degrees of enlightenment and tolerance, struggling to express a complete and independent feminine identity in the face of the confining but often seductive roles that convention and tradition impose on female potential. The Human Family provides a subtle and nuanced perspective on European feminist writing from the turn of the last century by a woman writer who was intimately involved with the literary mainstream of her time and whose theoretical and literary works played a significant role in feminist debates of the period, prefiguring present-day feminist discourse on essentialism and constructivism.

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Something Indecent is intended as a kind of symposium on European poetry. Seven contemporary Eastern European poets—Adam Zagajewski, Vera Pavlova, Tomaž Šalamun, Aleš Šteger, Nikola Madzirov, Eugenijus Ališanka, and editor Valzhyna Mort—introduce us to poems by writers who have become for them windows onto the world. They were asked: Who are the best representative poets of your region? Your generation? And, more broadly: Who are your favorite European poets of the 20th century? What European poets, across the millennia, are most important to an understanding of your particular region? Spanning thousands of years and thousands of miles, their surprising, often unpredictable choices—and the reasons for those choices—are collected here, forming the latest entry in a poetic conversation carried across centuries, countries, and traditions. More than a presentation of contemporary Eastern European poets, Something Indecent is a conversation about how European poets view themselves, their contemporaries, their century, and the place of their region in the millennia.Includes poems by Guillaume Apollinaire, Bertolt Brecht, Joseph Brodsky, Catullus, Paul Celan, John Donne, Zbigniew Herbert, Nâzim Hikmet, Antonio Machado, Czesław Miłosz, Cesare Pavese, Raymond Queneau, Rainer Maria Rilke, Tomaž Šalamun, Sappho, Anna Swir, Wisława Szymborska, Georg Trakl, Tomas Tranströmer, César Vallejo, Paul Valéry, and many others.

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Whether you want to visit a stunning national park, go wine-tasting in Oregon's Willamette Valley, or experience the culture of Seattle, Portland, or Vancouver, the local Fodor's travel experts in the Pacific Northwest are here to help! Fodor's Pacific Northwest guidebook is packed with maps, carefully curated recommendations, and everything else you need to simplify your trip-planning process and make the most of your time. This new edition travel guide has been fully-redesigned with an easy-to-read layout, fresh information, and beautiful color photos.Fodor's Pacific Northwest travel guide includes: AN ILLUSTRATED ULTIMATE EXPERIENCES GUIDE to the top things to see and do MULTIPLE ITINERARIES to effectively organize your days and maximize your time MORE THAN 30 DETAILED MAPS to help you navigate confidently COLOR PHOTOS throughout to spark your wanderlust! HONEST RECOMMENDATIONS FROM LOCALS on the best sights, restaurants, hotels, nightlife, shopping, performing arts, activities, side-trips, and more PHOTO-FILLED “BEST OF” FEATURES on “The 10 Best Islands,” “The Best Places for Book Lovers,” “The Best Hikes,” and more TRIP-PLANNING TOOLS AND PRACTICAL TIPS including when to go, getting around, beating the crowds, and saving time and money HISTORICAL AND CULTURAL INSIGHTS providing rich context on the local art, architecture, cuisine, music, geography and more SPECIAL FEATURES on “What to Watch and Read Before You Visit” and “What to Eat and Drink.” LOCAL WRITERS to help you find the under-the-radar gems UP-TO-DATE COVERAGE ON: Portland, Seattle, Vancouver, Willamette Valley, Mt. Hood, Bend, Mt. St. Helens, San Juan Islands, Olympic National Park, Mt. Rainer, Victoria, and more. Planning on visiting Seattle or Portland and beyond? Check out Fodor's Fodor's Seattle and Fodor's Oregon. *Important note for digital editions: The digital edition of this guide does not contain all the images or text included in the physical edition.ABOUT FODOR'S AUTHORS: Each Fodor's Travel Guide is researched and written by local experts. Fodor's has been offering expert advice for all tastes and budgets for over 80 years. For more travel inspiration, you can sign up for our travel newsletter at fodors.com/newsletter/signup, or follow us @FodorsTravel on Facebook, Instagram, and Twitter. We invite you to join our friendly community of travel experts at fodors.com/community to ask any other questions and share your experience with us!

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'The king is dead. Long live the king'! In early modern Europe, the king's body was literally sovereign - and the right to rule was immediately transferrable to the next monarch in line upon the king's death. In "The Royal Remains", Eric L. Santner argues that this carnal dimension of sovereignty hasn't disappeared from politics. Instead, it has migrated to a new location - the life of the people - where something royal continues to linger in the way we obsessively track and measure the vicissitudes of our flesh. Santner demonstrates the ways in which democratic societies have continued many of the rituals and practices associated with kingship in displaced, distorted, and, usually, unrecognizable forms. He proposes that those strange mental activities Freud first lumped under the category of the unconscious - which often manifest themselves in peculiar physical ways - are really the uncanny second life of these royal remains, now animated in the body politic of modern neurotic subjects. Pairing Freud with Kafka, Carl Schmitt with Hugo von Hofmannsthal, and Ernst Kantorowicz with Rainer Maria Rilke, Santner generates brilliant readings of multiple texts and traditions of thought en route to reconsidering the sovereign imaginary. Ultimately, "The Royal Remains" locates much of modernity-from biopolitical controversies to modernist literary experiments - in this transition from subjecthood to secular citizenship. This major new work will make a bold and original contribution to discussions of politics, psychoanalysis, and modern art and literature.

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Anna Halprin pioneered what became known as 'postmodern dance', creating work that was key to unlocking the door to experimentation in theater, music, Happenings, and performance art. This first comprehensive biography examines Halprin's fascinating life in the context of American culture - in particular popular culture and the West Coast as a center of artistic experimentation from the Beats through the Hippies. Janice Ross chronicles Halprin's long, remarkable career, beginning with the dancer's grandparents - who escaped Eastern European pogroms and came to the United States at the turn of the last century - and ending with the present day, when Halprin continues to defy boundaries between artistic genres as well as between participants and observers. As she follows Halprin's development from youth into old age, Ross describes in engrossing detail the artist's roles as dancer, choreographer, performance theorist, community leader, cancer survivor, healer, wife, and mother. Halprin's friends and acquaintances include a number of artists who charted the course of postmodern performance. Among her students were Trisha Brown, Simone Forti, Yvonne Rainer, Meredith Monk, and Robert Morris. Ross brings to life the vital sense of experimentation during this period. She also illuminates the work of Anna Halprin's husband, the important landscape architect Lawrence Halprin, in the context of his wife's environmental dance work. Using Halprin's dance practices and works as her focus, Ross explores the effects of danced stories on the bodies who perform them. The result is an innovative consideration of how experience becomes performance as well as a masterful account of an extraordinary life.

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This book examines the ‘window’ in the life and work of the seminal architectural thinker Christian Norberg-Schulz (1926 – 2000). It draws new attention to his architectural designs and re-examines his acclaimed theoretical work on the phenomenology of architecture and place within the context of a biography of his life, linking him with other historical figures such as Helen Keller and Rainer Maria Rilke, and framing him within the modernist tradition of the latter. Taking a novel, experimental approach, the book also explores the potential of the essay-film as an innovative new approach to producing architectural history. Bridging archival research and artistic exploration, its ten chapters, written by an architectural historian who is also a film-maker, are each accompanied by a short documentary film, hosted online and linked from within the chapter, which use the medium of film to creatively explore and delve deeper into little-known aspects of Norberg-Schulz’s theory of genius loci and the phenomenology of architecture. The book questions what it means to ‘follow’ those who came before, exploring the positionality of the architectural historian/filmmaker. Offering an insightful account of the life, work, and theory of a key thinker, Following Norberg-Schulz is also essential reading for those interested in practice-led research methodologies, particularly in the practice of film-making and the essay film, providing a highly innovative example of scholarly research which bridges the text-film gap.

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Frühjüdische Gruppen wie die Essener und Pharisäer folgten dem deuteronomistischen Ideal, ihren Anhängern die Torah einzuprägen. Diesem Ziel dienten Synagogen und ihnen angeschlossene Elementarschulen. Wie in der gesamten Antike basierte auch der frühjüdische Unterricht auf der Schulung des Gedächtnisses. Jesus von Nazareth wuchs in einer frommen Familie auf und erhielt durch Elternhaus und Synagoge eine tiefe Kenntnis der heiligen Schriften Israels.Rainer Riesner zeigt, wie Jesus als messianischer Lehrer und endzeitlicher Offenbarer auftrat. Diesen Anspruch, der verhüllt hinter seiner öffentlichen Verkündigung stand, erschloss er dem engsten Kreis seiner Jünger. Das bedeutete für sie ein herausragendes Tradierungsmotiv. Wie andere frühjüdische Lehrer fasste Jesus Kernpunkte seiner Verkündigung in kurzen, poetisch geformten Lehrsummarien zusammen, die er den Hörerinnen und Hörern einprägte. Seine originellen Gleichnisse waren aufgrund ihrer Bildhaftigkeit gut zu behalten. Weil die Jünger Jesus ständig begleiteten, konnten sie seine Lehrworte, die er wiederholt vortrug, zuverlässig memorieren.Besonders durch den von Jesus berufenen Zwölferkreis bestand eine Traditionskontinuität in die nachösterliche Zeit. Die Jesus-Überlieferung wurde wegen ihrer besonderen Autorität als eigenständige Tradition weitergegeben, die in Missionspredigt und Paränese meist nur anspielend gebraucht wurde. Schon früh unterstützten informelle schriftliche Aufzeichnungen die feste mündliche Überlieferung. Der ausschließliche Gebrauch der Kodexform weist auf eine Entstehung der synoptischen Evangelien mithilfe solcher Notizen hin.

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“I’ve just read Marcel Schwob’s The Children’s Crusade twice over, with deep admiration and reverence. I am profoundly moved: what a work! And to think I’d never heard the name of Marcel Schwob. Who is he?”—Rainer Maria Rilke Marcel Schwob’s 1896 novella The Children’s Crusade retells the medieval legend of the exodus of some 30,000 children from all countries to the Holy Land, who traveled to the shores of the sea, which—instead of parting to allow them to march on to Jerusalem—instead delivered them to merchants who sold them into slavery in Tunisia or delivered them to a watery death. It is a cruel and sorrowful story mingling history and legend, which Schwob recounts through the voices of eight different protagonists: a goliard, a leper, Pope Innocent III, a cleric, a qalandar and Pope Gregory IX, as well as two of the marching children, whose naive faith eventually turns into growing fear and anguish. Though it is a tale drawn from the early 13th century, Schwob presents it through a modern framework of shifting subjectivity and fragmented coherency, and its subject matter and its succession of different narrative perspectives has been seen as an influence on and precursor to such diverse works as Alfred Jarry’s The Other Alcestis, Ryunosuke Akutagawa’s “In a Grove,” William Faulkner’s As I Lay Dying and Jerzy Andrzejewski’s The Gates of Paradise. It is a tale told by many yet understood by few, a mosaic surrounding a void, describing a world in which innocence must perish.

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Der trust ist eine besondere Rechtsfigur des anglo-amerikanischen Rechtskreises (common law), die keine echte Entsprechung im kontinental-europäischen civil law hat. Bisherige Rezeptionsversuche sind stets erheblichen Schwierigkeiten begegnet. Der Gesetzgeber von Québec hat mit der neuen fiducie einen besonders originellen Ansatz zur Einführung einer trust-ähnlichen Rechtsfigur gewählt. Rainer Becker untersucht die fiducie in einer Gegenüberstellung mit anderen Treuhandmodellen, die er aus traditionellen und modernen Rechtsinstituten in civil law- und Mischrechtsordnungen ableitet. Die Besonderheit des neuartigen Ansatzes von Québec liegt darin, dass das Treugut nicht einer der beteiligten Personen (Treuhänder, Treugeber und Begünstigter) zugeordnet ist, sondern eine rechtsträgerlose zweckgewidmete Vermögensmasse, ein patrimoine d'affectation bildet. Im Anschluss an eine Darstellung der fiducie von Québec untersucht der Autor dogmatische Bedenken gegen subjektlose Rechte und Vermögen. Er zeigt, dass sich von den untersuchten Treuhandmodellen mehrere als konstruktive Grundlage eignen, um die funktionalen Qualitäten des trust im civil law erfolgreich nachzuempfinden. Der neuartige Ansatz der fiducie von Québec ist davon, trotz seiner Ungewöhnlichkeit und des erforderlichen Anpassungsaufwands, ein besonders interessantes Modell, das durch ein im civil law bislang einzigartiges umfassendes Regelwerk ergänzt wird. Der Autor widerlegt mit seiner Arbeit auch jene, die den trust gern als Anschauungsbeispiel für eine "untranslatability of legal concepts" und eine unüberbrückbare Kluft zwischen common law und civil law heranziehen.

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Las Elegías de Duino señalan el momento de más alta creatividad poética de la obra de Rainer Maria Rilke (Praga, 1875-Valmont, 1927), uno de los poetas mayores en lengua alemana de la Europa moderna. La intensidad lírica de esta poesía, así como el misterioso mundo interior que habita en ella, han sido objeto de atención y estudio por parte de algunos de los más destacados filósofos y escritores de nuestro tiempo, como Martin Heidegger, Maurice Blanchot, Romano Guardini, Hans-Georg Gadamer o George Steiner. Este libro reúne dos ensayos que dialogan acerca de la poesía de Rilke, tomando como punto de partida la Novena Elegía, en la cual el poeta da cuenta de la tensión entre lo decible en tanto que experiencia de los límites de lo expresable en el ser humano y aquello indecible, inefable e invisible que se sustrae a nuestra mirada. Este libro quiere ser una contribución, tal vez intempestiva, a la ya larga tradición de lecturas sobre la obra de Rilke realizadas desde el ámbito cultural

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Galerie nachst St. Stephan is one of Austria's, and indeed Europe's, most eminent and distinguished galleries for contemporary art. Located in the same place in the heart of Vienna since the 1920's it has been exploring the art of the modern era for nearly ninety years. With the exhibition 'Signs, Waves, Signals - Reconstructive and Parallel' Rosemarie Schwarzwalder, the gallery's director since 1978, presented in 1984 a program featuring basic elements that have proven relevant in numerous solo and group exhibitions up to the present. 'Rift Gap Hinge A' documents an internationally recognised exhibition staged at Galerie nachst St. Stephan in 2006/07. Curator and artist Heinrich Dunst had put together work by international artists, driving the trained relationship between media and sign, between the visible and the expressible to the extreme. The show made traceable the illuminating relation between visual art, film and literature. By transposing the display of art works into a book 'Rift Gap Hinge A' extends and consolidates at the same time the scope in the relation between art and its depiction. More than 70 photographs of art works and the exhibition are complemented by detailed descriptions of the works and an introductory essay. The artists represented in the exhibition include: John Baldessari, Konrad Bayer, Marcel Broodthaers, Rafal Bujnowski, Ernst Caramelle, Clegg & Guttmann: Michael Clegg & Martin Guttmann, Heinrich Dunst, Rainer Ganahl, Nikolaus Gansterer, Louise Lawler, Jan Mancuska, Christian Marclay, Michael S. Riedel, Ferdinand Schmatz, Peter Tscherkassky, JoA"lle Tuerlinckx & Remy Zaugg .

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RTA Parker’s Space Odes is an entertainingly bonkers romp of constellation and collage, writing and re-writing its entertainingly allusive way through intertextual space lampooning, deriding, despairing at and celebrating robots, the universe, love and sport (cricket, mostly) in a wonky poetics of anxiety and joy at the world we are thoroughly and catastrophically screwing up.‘No Catharsis.No bust through into the empyrean.No illumination.It ends with you realizing that even the silent beyond has been colonised by wankers’Texts quoted from or paraphrased repeatedly and/or prominently include Ralph Metzner and Timothy Leary’s The Psychedelic Experience, The Cantos of Ezra Pound, Star Wars, George Eliot’s Middlemarch, A1: Britain’s Longest Road, Silent Running, Cool Runnings, 2001: A Space Odyssey, Samuel R. Delany’s Trouble on Triton and Dhalgren, Emily Witt’s Future Sex, The Song Remains the Same, Aliens, Blade Runner, Larry McMurtry’s Lonesome Dove, Charles Olson’s The Maximus Poems, Woodstock, Rainer Maria Rilke’s Duino Elegies, Herman Melville’s Mardi, and a Voyage Thither and Willa Cather’s O Pioneers!--RTA Parker was born in 1978. His poetry has appeared in Onedit, Signals, The Rialto, Great Works, Freaklung, Naked Punch, Glitch, Brand and The Wolf, and he has read at various reading series, including Crossing the Line, Chlorine, and Desperate for Love. He is the editor and printer of Crater; a hand-bound and letter-pressed poetry pamphlet series based in London and Brighton. His poem, 'All The Bleak Chippies' (included in Space Odes) won the Ledbury Poetry Prize, in 2018.

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Films provide valuable spaces for aesthetic experimentation and analysis, for cinema's openness to other media has always allowed it to expand its own. In Aesthetic Spaces, Brigitte Peucker shows that when painterly or theatrical conventions are appropriated by the medium of film, the dissonant effects produced open it up to intermedial reflection and tell us a great deal about cinema itself. The films studied in these chapters include those by Abbas Kiarostami, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Carl Th. Dreyer, Peter Greenaway, Rainer Werner Fassbinder, Ingmar Bergman, Jacques Rivette, Fritz Lang, F. W. Murnau, Lars von Trier, Spike Jonze, Éric Rohmer, Lech Majewski, and others. Where two media are in evidence in these films, there is usually a third, and often theater mediates between film and painting. Aesthetic Spaces interrogates issues of cinematic space and mise-en-scène from different but interconnected theoretical perspectives, organizing its chapters around some of the formal principles—space, spectator, frame, color and lighting, props, décor, and actor—that shape films.Drawing on the older arts to renew cinema, the films examined deploy paintings as material: Poussin and Bruegel, Rembrandt, Hals and Klimt, and medieval illustrations and modernist abstractions are used to expand our notions of cinematic space. Peucker shows that when different media come together in film, they create effects of dissonance out of which new modes of looking may arise.

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In Lyric Orientations, Hannah Vandegrift Eldridge explores the power of lyric poetry to stir the social and emotional lives of human beings in the face of the ineffable nature of our mortality. She focuses on two German-speaking masters of lyric prose and poetry: Friedrich Hölderlin (1770–1843) and Rainer Maria Rilke (1875–1926). While Hölderlin and Rilke are stylistically very different, each believes in the power of poetic language to orient us as social beings in contexts that otherwise can be alienating. They likewise share the conviction that such alienation cannot be overcome once and for all in any universal event. Both argue that to deny the uncertainty created by the absence of any such event (or to deny the alienation itself) is likewise to deny the particularly human condition of uncertainty and mortality. By drawing on the work of Stanley Cavell, who explores how language in all its formal aspects actually enables us to engage meaningfully with the world, Eldridge challenges poststructuralist scholarship, which stresses the limitations—even the failure—of language in the face of reality. Eldridge provides detailed readings of Hölderlin and Rilke and positions them in a broader narrative of modernity that helps make sense of their difficult and occasionally contradictory self-characterizations. Her account of the orienting and engaging capabilities of language reconciles the extraordinarily ambitious claims that Hölderlin and Rilke make for poetry—that it can create political communities, that it can change how humans relate to death, and that it can unite the sensual and intellectual components of human subjectivity—and the often difficult, fragmented, or hermetic nature of their individual poems.

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The enduring power of Rainer Maria Rilke’s poetry rests with his claim that all we need for a better life on earth is already given to us, in the here and now. In twenty-six engaging and accessible essays, Ulrich Baer’s The Rilke Alphabet examines this promise by one of the greatest poets in any tradition that even the smallest overlooked word may unlock life’s mysteries to us. Fueled by an unebbing passion and indeed love for Rilke’s poetry, Baer examines twenty-six words that are not only unexpected but also problematic, controversial, and even scandalous in Rilke’s work. In twenty-six mesmerizing essays that eschew jargon and teutonic learnedness for the pleasures and risks of unflinchingly engaging with a great artist’s genius, Baer sheds new light on Rilke’s politics, his creative process, and his deepest and enduring thoughts about life, art, politics, sexuality, love, and death. The Rilke Alphabet shows how Rilke’s work provides an uncannily apt guide to life even in our vexingly postmodern condition. Whether it is a love letter to frogs, a problematic brief infatuation with Mussolini, a sustained reflection on the Buddha, the evasion of the influence of powerful precursors, or the unambiguous assertion that freedom must be lived in order to be known, Rilke’s writings pull us deeply into life. Baer’s decades-long engagement with Rilke as a scholar, translator, and editor of Rilke’s writings allows him to reveal unique aspects of Rilke’s work. The Rilke Alphabet will surprise and delight Rilke fans, intrigue newcomers to his work, and deepen every reader’s sense of the power of poetry to penetrate the mysteries and confusions of our world.

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Georg Simmel is one of the most original German thinkers of the twentieth century and is considered a founding architect of the modern discipline of sociology. Ranging over fundamental questions of the relationship of self and society, his influential writings on money, modernity, and the metropolis continue to provoke debate today. Fascinated by the relationship between culture, society, and economic life, Simmel took an interest in myriad phenomena of aesthetics and the arts. A friend of writers and artists such as Auguste Rodin, Rainer Maria Rilke, and Stefan George, he wrote dozens of pieces engaging with topics such as the work of Michelangelo, Rembrandt, and Rodin, Japanese art, naturalism and symbolism, Goethe, "art for art's sake", art exhibitions, and the aesthetics of the picture frame. This is the first collection to bring together Simmel's finest writing on art and aesthetics, and many of the items appear in English in this volume for the first time. The more than forty essays show the protean breadth of Simmel's reflections, covering landscape painting, portraiture, sculpture, poetry, theater, form, style, and representation. An extensive introduction by Austin Harrington gives an overview of Simmel's themes and elucidates the significance of his work for the many theorists who would be inspired by his ideas. Something of an outsider to the formal academic world of his day, Simmel wrote creatively with the flair of an essayist. This expansive collection of translations, many of them prepared by the editor, preserves the narrative ease of Simmel's prose and will be a vital source for readers with an interest in Simmel's trailblazing ideas in modern European philosophy, sociology, and cultural theory.

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What is a woman? What is a man? How do they—and how should they—relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andréas Salomé, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light:Terrence Malick, James Coleman, and Gerhard Richter.

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In 1959 Daniel Spoerri pioneered the first programmatic series of multiples―three-dimensional objects issued in edition―to be broadly distributed. With a radical emphasis on multiplication and movement, Edition MAT (Multiplication d’art transformable) presented an international selection of work by key figures in postwar kinetic and Op art. Multiplied is the first in-depth English-language study of this seminal project in the history of postwar art. The catalog presents the entirety of the three collections—1959, 1964, and 1965—consisting of 48 artworks by 35 European and US artists associated with kinetic and Op art, including such leading figures as Marcel Duchamp, Dieter Roth, and Jean Tinguely, alongside lesser known artists. With four essays, artist entries, and an appendix of newly translated historical texts, this volume sheds light on under-studied artworks as well as the body of critical thought connecting art, commerce, and display in the postwar period. Artists: Yaacov Agam, Josef Albers, Arman, Jean Arp, Enrico Baj, Davide Boriani, George Brecht, Pol Bury, Christo, Gabriele De Vecchi, Marcel Duchamp, Bo Ek, Robert Filliou, Karl Gerstner, Maurice Henry, Julio Le Parc, Roy Lichtenstein, Heinz Mack, Frank J. Malina, Enzo Mari, Christian Megert, François Morellet, Bruno Munari, Arnulf Rainer, Man Ray, Dieter Roth, Jesús Rafael Soto, Daniel Spoerri, Paul Talman, André Thomkins, Jean Tinguely, Victor Vasarely, Jacques Villeglé, Emmett Williams

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From the critically acclaimed artist, designer, and author of the bestsellers The Principles of Uncertainty and My Favorite Things comes a wondrous collection of words and paintings that is a moving meditation on the beauty and complexity of women’s lives and roles, revealed in the things they hold.“What do women hold? The home and the family. And the children and the food. The friendships. The work. The work of the world. And the work of being human. The memories. And the troubles. And the sorrows and the triumphs. And the love.”In the spring of 2021, Maira and Alex Kalman created a small, limited-edition booklet “Women Holding Things,” which featured select recent paintings by Maira, accompanied by her insightful and deeply personal commentary. The booklet quickly sold out. Now, the Kalmans have expanded that original publication into this extraordinary visual compendium.Women Holding Things includes the bright, bold images featured in the booklet as well as an additional sixty-seven new paintings highlighted by thoughtful and intimate anecdotes, recollections, and ruminations. Most are portraits of women, both ordinary and famous, including Virginia Woolf, Sally Hemings, Hortense Cezanne, Gertrude Stein, as well as Kalman’s family members and other real-life people. These women hold a range of objects, from the mundane—balloons, a cup, a whisk, a chicken, a hat—to the abstract—dreams and disappointments, sorrow and regret, joy and love.Kalman considers the many things that fit physically and metaphorically between women’s hands: We see a woman hold a book, hold shears, hold children, hold a grudge, hold up, hold her own. In visually telling their stories, Kalman lays bare the essence of women’s lives—their tenacity, courage, vulnerability, hope, and pain. Ultimately, she reveals that many of the things we hold dear—as well as those that burden or haunt us—remain constant and connect us from generation to generation.Here, too, are pictures of a few men holding things, such as Rainer Maria Rilke and Anton Chekhov, as well as objects holding other objects that invite us to ponder their intimate relationships to one another.Women Holding Things explores the significance of the objects we carry—in our hands, hearts, and minds—and speaks to, and for, all of us. Maira Kalman’s unique work is a celebration of life, of the act and the art of living, offering an original way of examining and understanding all that is important in our world—and ultimately within ourselves.

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On Curating, Carolee Thea's second volume of interviews with ten of today's leading curators, explores the intellectual convictions and personal visions that lay the groundwork for the most prestigious and influential exhibitions in the world today. Among the aesthetic and theoretical issues raised are the relationship between artist and curator, globalism, post-colonialism, capitalism, the future of cultural tourism and the biennial as spectacle or utopian ideal. As Thea notes in her introduction, "the biennial or mega-exhibition--a laboratory for experimentation, investigation and aesthetic liberation--is where the curators' experience and knowledge are tested. As they negotiate venues for artistic expression, intellectual critiques and humanistic concerns in their own societies and others, they are challenged by the certainties and uncertainties of a constantly evolving future." Thea's interviewees are Joseph Backstein, Carolyn Christov-Bakargiev, Okwui Enwezor, Charles Esche, Massimiliano Gioni, RoseLee Goldberg, Mary Jane Jacob, Pi Li, Virginia Perez-Ratton and Rirkrit Tiravanija. On Curating also includes 50 color illustrations of relevant works by (among others) Kutlug Ataman, Tamy Ben-Tor, John Bock, Cao Fei, Olafur Eliasson, Isaac Julien, Francois & Philippe Parreno, Yvonne Rainer, Michael Rakowitz, Doris Salcedo, Allan Sekula, Yinka Shonibare and Francesca Woodman. Carolee Thea is a curator, critic, art historian and independent scholar. Her first book, Foci: Interviews with Ten International Curators was published in 2001. She is contributing editor at ArtAsiaPacific and Sculpture magazine and was the English editor of Atlántica 45. Her articles, reviews and interviews have been published in many arts journals, among them Parkett, Artforum.com, The New Art Examiner, Modern Painters, Artnet.com, ZSijue 21 Beijing, Heresies, Tema Celeste, Parachute and ArtNews.

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Georg Simmel is one of the most original German thinkers of the twentieth century and is considered a founding architect of the modern discipline of sociology. Ranging over fundamental questions of the relationship of self and society, his influential writings on money, modernity, and the metropolis continue to provoke debate today. Fascinated by the relationship between culture, society, and economic life, Simmel took an interest in myriad phenomena of aesthetics and the arts. A friend of writers and artists such as Auguste Rodin, Rainer Maria Rilke, and Stefan George, he wrote dozens of pieces engaging with topics such as the work of Michelangelo, Rembrandt, and Rodin, Japanese art, naturalism and symbolism, Goethe, "art for art's sake", art exhibitions, and the aesthetics of the picture frame. This is the first collection to bring together Simmel's finest writing on art and aesthetics, and many of the items appear in English in this volume for the first time. The more than forty essays show the protean breadth of Simmel's reflections, covering landscape painting, portraiture, sculpture, poetry, theater, form, style, and representation. An extensive introduction by Austin Harrington gives an overview of Simmel's themes and elucidates the significance of his work for the many theorists who would be inspired by his ideas. Something of an outsider to the formal academic world of his day, Simmel wrote creatively with the flair of an essayist. This expansive collection of translations, many of them prepared by the editor, preserves the narrative ease of Simmel's prose and will be a vital source for readers with an interest in Simmel's trailblazing ideas in modern European philosophy, sociology, and cultural theory.

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The first Latin American to receive a Nobel Prize for Literature, the Chilean writer Gabriela Mistral (1889-1957) is often characterized as a healing, maternal voice who spoke on behalf of women, indigenous peoples, the disenfranchised, children, and the rural poor. She is that political poet and more: a poet of philosophical meditation, self-consciousness, and daring. This is a book full of surprises and paradoxes. The complexity and structural boldness of these prose-poems, especially the female-erotic prose pieces of her first book, make them an important moment in the history of literary modernism in a tradition that runs from Baudelaire, the North American moderns, and the South American postmodernistas. It's a book that will be eye-opening and informative to the general reader as well as to students of gender studies, cultural studies, literary history, and poetry.This Spanish-English bilingual volume gathers the most famous and representative prose writings of Gabriela Mistral, which have not been as readily available to English-only readers as her poetry. The pieces are grouped into four sections. "Fables, Elegies, and Things of the Earth" includes fifteen of Mistral's most accessible prose-poems. "Prose and Prose-Poems from Desolación / Desolation [1922]" presents all the prose from Mistral's first important book. "Lyrical Biographies" are Mistral's poetic meditations on Saint Francis and Sor Juana de la Cruz. "Literary Essays, Journalism, 'Messages'" collects pieces that reveal Mistral's opinions on a wide range of subjects, including the practice of teaching; the writers Alfonso Reyes, Alfonsina Storni, Rainer Maria Rilke, and Pablo Neruda; Mistral's own writing practices; and her social beliefs. Editor/translator Stephen Tapscott rounds out the volume with a chronology of Mistral's life and a brief introduction to her career and prose.

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This book explores the implications for today’s critical concerns of the work of Walter Benjamin (1892-1940). Although his writings are considered to be among the most powerful and suggestive theoretical enterprises of the twentieth century, his ideas are strangely resistant to cooptation by the established doctrines of various critical programs. The innovative essays gathered here engage this resistance by examining the notion of the ghostly in Benjamin’s work. The contributors show that the urgent and haunting truths Benjamin offers point toward new forms of responsibility, even as they withdraw from straightforward meaning and transparent forms of expression. These truths reside in a figurative elsewhere, a ghostly space that his texts delimit but never fully inhabit, and these essays seek to do justice to the ghosts of Benjamin that are already on board with us. Through close textual readings and thoughtful contextualizations, internationally known Benjamin scholars engage a wide range of issues, including: the status of the image in Benjamin’s literary reflections and in his meditations on cinema and visual culture; abiding Benjaminian notions of messianism, aura, reproducibility, semblance, and melancholy; Benjamin’s relation to Freud; his innovative rethinking of history, virtuality, and translation; and his reflections on tragedy and prophecy, the geometrical dimensions of writing, and the relation between eros and language. The contributors are Norbert Bolz, Fritz Breithaupt, Stanley Corngold, Peter Fenves, Eva Geulen, Miriam Hansen, Beatrice Hanssen, Lutz Koepnick, Tom McCall, Kevin McLaughlin, Bettine Menke, Rainer Nägele, Gerhard Richter, Laurence Rickels, and Sigrid Weigel.

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More than 40 years after her death, the legend of Maria Callas, “La Divina Assoluta,” remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent – genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability – the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas’s first recital recordings from 1954, this book envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer’s Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum.

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Der 100. Jahrestag der Gründung der Fakultät für Rechtswissenschaft der Universität Hamburg bietet eine willkommene Gelegenheit zu einer Standortbestimmung mit historischer Perspektive. Mit ihren mehr als 40 Beiträgen eröffnet die Festschrift ein bisher unerreichtes Panorama der Rechtswissenschaft in Hamburg. Biographische Einzelstudien und institutionelle Überblicke verschaffen dem Leser eine lebendige Anschauung von einer Fakultät, die sich als Neuling im Kreis der juristischen Fakultäten sehr rasch einen Namen als Einrichtung gemacht hat, die ihre Schwerpunkte stets in den Grundlagenfächern und den internationalen Fragen des Rechts gesehen hat. Ebenso bemerkenswert ist die kontinuierliche Offenheit der Hamburger Fakultät für Innovationen in der Lehre. Wiederholt war die Fakultät hierbei auch Vorreiterin in der Bundesrepublik. Mit Beiträgen von:Ivo Appel, Klaus Bartels, Jürgen Basedow, Alexander Baur, Jörg Berkemann, Wolfgang Berlit, Reinhard Bork, Hans Peter Bull, Jochen Bung, Wilhelm Degener, Dagmar Felix, Gerrit Frotscher, Julia Geneuss, Armin Hatje, Rolf Herber, Heribert Hirte, Wolfgang Hoffmann-Riem, Florian Jeßberger, Hinrich Julius, Rainer Keller, Robert Koch, Markus Kotzur, Maximiliane Kriechbaum, Milan Kuhli, Otto Luchterhandt, Ulrich Magnus, Peter Mankowski, Jean Mohamed, Stefan Oeter, Marian Paschke, Arne Pilniok, Tilman Repgen, Wolf-Georg Ringe, Bernd-Rüdeger Sonnen, Mareike Schmidt, Hans-Heinrich Trute, Stefan Voigt, Moritz Vormbaum, Albrecht Zeuner

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Leading from Within is a wonderful collection of ninety-three poems from well-loved poets, each of which is accompanied by a brief personal commentary from a leader explaining the significance and meaning of the poem in his or her life and work. The contributors represent a wide range of professions including Vanguard Group founder John Bogle, MoveOn.org cofounder Joan Blades, several members of Congress, Christian activist Brian McLaren, business guru Peter Senge, and many other leaders from business, medicine, education, nonprofits, law, politics and government, and religion. In their reflections, these leaders explore how they have been inspired by poets such as T.S. Eliot, Mary Oliver, William Stafford, Langston Hughes, Pablo Neruda, Robert Frost, Rumi, May Sarton, Wallace Stevens, Wendell Berry, and Rainer Maria Rilke. "Leading from Within is perhaps the most soulful treatment of leadership ever composed. Leadership is first an inner quest, and there is absolutely no better place to explore your inner territory than in the pages of this book. This is an evocative work of art; do yourself an immense favor, and engage with these amazing and diverse leaders and their poems."—Jim Kouzes, coauthor of the bestselling The Leadership Challenge and A Leader's Legacy "Leading from Within makes brilliant use of the world's great poets to inspire us to lead with our hearts as well as our heads. It calls to the deeper purpose and meaning within all of us to use our gifts to serve others."—Bill George, author, True North: Discover Your Authentic Leadership "This is a superb collection of poems and deeply personal reflections from a wide range of real leaders. It is a gift to all of us who believe in bringing our hearts to our work." —Rep. John Lewis (D-Ga.) "The entries in this wonderful anthology are a joy to read and all the more interesting because of their special meaning to the leaders who recommended them. It is a book that every nonprofit leader should place among those they draw upon for inspiration every day."—Diana Aviv, president and CEO, Independent Sector "Leading from Within offers a candid view straight into the heart and soul of leaders striving to do good and effective work in the world. The poems and commentaries remind us that leadership is always deeply personal and chock-full of dilemmas that must be addressed by creativity, passion, imagination, and courage."—Jeff Swartz, president and CEO, Timberland

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Legacies of modernism reappraised and reconstructed in an epic project by Renée Green American artist Renée Green (born 1959) spent two years engaged with the Carpenter Center for the Visual Arts at Harvard University, during which she presented a series of interlinked public programs and exhibitions, culminated with her major exhibition Within Living Memory (2018). Green’s Carpenter project, Pacing, is a meditation spurred by inhabiting an architectural icon—Le Corbusier’s Carpenter Center—while exploring the historical and institutional legacies of modernism’s other forms, including cinema, visual art, poetry, music and literature. This handsome publication illuminates Green’s unfolding process, with a sequence of exhibitions that took place from 2015 and culminating in Pacing: Facing in Toronto; Tracing in Como, Italy; Placing in Berlin; Spacing in Lisbon; and Begin Again, Begin Again in Los Angeles. The result is a meditation on creative processes across histories and media, partially inspired by two architectural icons: Rudolf M. Schindler and Le Corbusier. Despite grand ambitions, Le Corbusier was only able to realize two buildings in the Americas, the Carpenter Center in Cambridge, Massachusetts, and Casa Curuchet, in La Plata, Argentina. In Pacing, dreams, projections and geographically distant buildings are put into dialogue through time, weaving a layered constellation of unexpected relations. Lavishly illustrated, Renée Green: Pacing features new texts by Gloria Sutton and Fred Moten, and brings together a series of previously unpublished conversations between the artist and Yvonne Rainer, Nora M. Alter and Mason Leaver-Yap. Additional contributions are provided by Nicholas Korody, William S. Smith and Carpenter Center director Dan Byers.

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A Sunday Times Art Book of the Year: the first critical illustrated biography of this much-loved artist, locating her firmly in the art worlds of late 19th- and early 20th-century London and Paris. One of the most significant British artists of the twentieth century, Gwen John (1867-1939) made her life and work within the heady art worlds of London and Paris. This critical biography demolishes the myth of Gwen John as a recluse and situates her, brilliant, singular and assured, amid a rich cultural milieu that included James McNeill Whistler, Henri Matisse, Pablo Picasso, Paula Modersohn-Becker and Maude Gonne. Art historian, curator and novelist Alicia Foster draws on previously unpublished archival sources to explore John’s many relationships with artists and writers, including her affair with Auguste Rodin, passionate friendships with Jeanne Robert Foster and Véra Oumançoff, and correspondence with, among others, the poet Rainer Maria Rilke and her Slade compatriot and fellow painter Ursula Tyrwhitt. John’s library, ranging from writing by her friends Rilke and Arthur Symonds to French philosophy and religious thought, is considered, as is her part in the increasing presence and visibility of women artists in the early-twentieth-century art world. From the life rooms of the Slade to the Paris salons, this is the story of an artist both devoted to her craft and deeply involved in the life and creativity of her era. With over 120 illustrations, Gwen John: Art and Life in London and Paris offers a lively, meticulously researched portrait of Gwen John as a vital and utterly compelling figure in twentieth-century art history.

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The Georg Büchner Prize is the highest literary honor for German language writers, and the full extent of Büchner’s influence—from Gerhart Hauptmann to Christa Wolf, Max Reinhardt to Robert Wilson, Alban Berg to Tom Waits—defies cataloging. When Georg Büchner died in 1837 at the age of twenty-three, he left behind a small and heterogenous body of work, most of it unpublished: three plays, a novella, a political pamphlet, a dissertation, medical lectures, and letters. Matthew Wilson Smith has newly translated Büchner’s introduction to On Cranial Nerves. Each text is accompanied by explanatory annotations. The editor’s introduction examines the complexities of Büchner’s short life and how they informed his writing. The volume also contains ten illustrations. “Contexts” includes Büchner’s correspondence with the people who knew him best, impressions of Büchner from a fellow medical student, excerpts from Büchner’s diary, the wanted poster calling for Büchner’s arrest for political conspiracy as well as the real-life inspirations his novella, Lenz, and his best-known play, Woyzeck. For ease of reference, “Criticism” is topically arranged by work and includes assessments by, among others, Laura Ginters, Victor Brombert, Bertolt Brecht, Henry Schmidt, Andrew Webber, Rainer Maria Rilke, and George Steiner. Three accounts of important productions of Danton’s Death are reprinted, including John Houseman’s remarks on Orson Welles’s staging. Finally, the speeches of four winners of the Georg Büchner Prize—Paul Celan, Christa Wolf, Heiner Müller, and Durs Grünbein—are reprinted in their entirety. A Chronology of Büchner’s life and work and a Selected Bibliography are also included.

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The Italian philosopher Giorgio Agamben is having an increasingly significant impact on Anglo-American political theory. His most prominent intervention to date is the powerful reassessment of sovereignty and the politics of life and death laid out in his multivolume Homo Sacer project. Agamben argues that in both the modern world and the ancient, politics inevitably involves a sovereign decision that bans some individuals from the political and human communities. For Agamben, the Nazi concentration camps—in which some inmates are reduced to a form of living death—are not a political aberration but instead the place where this essential political decision about life most clearly reveals itself. Engaging specifically with Homo Sacer, the essays in this collection draw out and contend with the wide-ranging implications of Agamben’s radical and controversial interpretation of modern political life.The contributors analyze Agamben’s thought from the perspectives of political theory, philosophy, jurisprudence, and the history of law. They consider his work not only in relation to that of his major interlocutors—Hannah Arendt, Michel Foucault, Carl Schmitt, Walter Benjamin, and Martin Heidegger—but also in relation to the thought of Plato, Pindar, Heraclitus, Descartes, Kafka, Bataille, and Derrida. The essayists’ approaches are varied, as are their ultimate evaluations of the cogency and accuracy of Agamben’s arguments. This volume also includes an original essay by Agamben in which he considers the relation of Benjamin’s “Critique of Violence” to Schmitt’s Political Theology. Politics, Metaphysics, and Death is a necessary, multifaceted exposition and evaluation of the thought of one of today’s most important political theorists.Contributors: Giorgio Agamben, Andrew Benjamin, Peter Fitzpatrick, Anselm Haverkamp, Paul Hegarty, Andreas Kalyvas, Rainer Maria Kiesow , Catherine Mills, Andrew Norris, Adam Thurschwell, Erik Vogt, Thomas Carl Wall

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In this moving and thoughtful book, Kathleen Woodward explores the politics and poetics of the emotions, focusing on American culture since the 1960s. She argues that we are constrained in terms of gender, race, and age by our culture’s scripts for “emotional” behavior and that the accelerating impoverishment of interiority is a symptom of our increasingly media-saturated culture. She also shows how we can be empowered by stories that express our experience, revealing the value of our emotions as a crucial form of intelligence.Referring discreetly to her own experience, Woodward examines the interpenetration of social structures and subjectivity, considering how psychological emotions are social phenomena, with feminist anger, racial shame, old-age depression, and sympathy for non-human cyborgs (including robots) as key cases in point. She discusses how emerging institutional and discursive structures engender “new” affects that in turn can help us understand our changing world if we are attentive to them—the “statistical panic” produced by the risk society, with its numerical portents of disease and mortality; the rage prompted by impenetrable and bloated bureaucracies; the brutal shame experienced by those caught in the crossfire of the media; and the conservative compassion that is not an emotion at all, only an empty political slogan.The orbit of Statistical Panic is wide, drawing in feminist theory, critical phenomenology, and recent theories of the emotions. But at its heart are stories. As an antidote to the vacuous dramas of media culture, with its mock emotions and scattershot sensations, Woodward turns to the autobiographical narrative. Stories of illness—by Joan Didion, Yvonne Rainer, Paul Monette, and Alice Wexler, among others—receive special attention, with the inexhaustible emotion of grief framing the book as a whole.

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A consideration of how contemporary art can offer a deeper understanding of selfhood. With Each One Another, Rachel Haidu argues that contemporary art can teach us how to understand ourselves as selves—how we come to feel oneness, to sense our own interiority, and to shift between the roles that connect us to strangers, those close to us, and past and future generations. Haidu looks to intergenerational pairings of artists to consider how three aesthetic vehicles––shape in painting, characters in film and video, and roles in dance––allow us to grasp selfhood. Better understandings of our selves, she argues, complement our thinking about identity and subjecthood. She shows how Philip Guston’s figurative works explore shapes’ descriptive capacities and their ability to investigate history, while Amy Sillman’s paintings allow us to rethink expressivity and oneness. Analyzing a 2004 video by James Coleman, Haidu explores how we enter characters through their interior monologues, and she also looks at how a 2011 film by Steve McQueen positions a protagonist’s refusal to speak as an argument for our right to silence. In addition, Haidu examines how Anne Teresa de Keersmaeker’s distribution of roles across dancers invites us to appreciate formal structures that separate us from one another while Yvonne Rainer’s choreography shows how such formal structures also bring us together. Through these examples, Each One Another reveals how artworks allow us to understand oneness, interiority, and how we become fluid agents in the world, and it invites us to examine—critically and forgivingly—our attachments to selfhood.

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Der kleine Inselstaat Malta ist ein vor allem bei Sprachschülern beliebtes Urlaubsziel. Wo sonst kann man schon Englisch unter „native speakers“ lernen und sich nach Unterrichtsschluss sonnen oder im Mittelmeer baden? Doch Malta ist mehr als die Urlaubsnation für Sonnenhungrige.Die Maltesischen Inseln blicken auf mehr als 7000 Jahre Besiedlungsgeschichte zurück, und die steinzeitlichen Tempel des Archipels zählen zu den ältesten freistehenden Bauwerken der Menschheitsgeschichte.Zur Zeit des Johanniterordens war Malta als Bollwerk gegen türkische Eroberer der Schutzschild Europas, und als britische Kronkolonie war seine Rolle im Zweiten Weltkrieg von entscheidender Bedeutung. Als sich der Staat nach seiner Unabhängigkeit politisch dem „Ostblock“ zuwandte, war ganz Europa um die Stabilität im Mittelmeerraum besorgt.Der Kleinstaat, der immer wieder die Gemüter eines ganzen Kontinents erregte, ist seit 2004 Mitglied der Europäischen Union und hat die Finanzkrise seit 2008 bislang mit Bravour bestanden. Die Geographen Rainer Aschemeier und Bernd Cyffka beleuchten schlaglichtartig viele interessante Aspekte dieses Inselstaats, von der Geologie bis zum EU-Beitritt, von der Steinzeit bis ins 21. Jahrhundert.Der Leser bekommt dabei oft andere Aspekte des Landes geschildert, als diejenigen, die üblicherweise zu lesen sind. Dargelegt an ausgewählten Beispielen und einmaligen Fotos wird ein Land beschrieben, welches räumlich so nahe liegt, aber doch deutlich anders ist, als allgemein angenommen. Vielleicht weckt die Lektüre die Lust, nach Malta zu reisen – zum ersten oder sogar zum wiederholten Mal.

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This book provides the first systematic overview of German sociology today. Thirty-four chapters review current trends, relate them to international discussions and discuss perspectives for future research. The contributions span the whole range of sociological research topics, from social inequality to the sociology of body and space, addressing pressing questions in sociological theory and innovative research methods. TOC: Introduction Culture / Uta Karstein and Monika Wohlrab-Sahr Demography and Aging / François Höpflinger Economic Sociology / Andrea Maurer Education and Socialization / Matthias Grundmann Environment / Anita Engels Europe / Monika Eigmüller Family and Intimate Relationships / Dirk Konietzka, Michael Feldhaus, Michaela Kreyenfeld, and Heike Trappe (Felt) Body. Sports, Medicine, and Media / Robert Gugutzer and Claudia Peter Gender / Paula-Irene Villa and Sabine Hark Globalization and Transnationalization / Anja Weiß Global South / Eva Gerharz and Gilberto Rescher History of Sociology / Stephan Moebius Life Course / Johannes Huinink and Betina Hollstein Media and Communication / Andreas Hepp Microsociology / Rainer Schützeichel Migration / Ludger Pries Mixed-Methods and Multimethod Research / Felix Knappertsbusch, Bettina Langfeldt, and Udo Kelle Organization / Raimund Hasse Political Sociology / Jörn Lamla Qualitative Methods / Betina Hollstein and Nils C. Kumkar Quantitative Methods / Alice Barth and Jörg Blasius Religion / Matthias Koenig Science and Higher Education / Anna Kosmützky and Georg Krücken Social Inequalities―Empirical Focus / Gunnar Otte, Mara Boehle, and Katharina Kunißen Social Inequalities―Theoretical Focus / Thomas Schwinn Social Movements / Thomas Kern Social Networks / Roger Häußling Social Policy / Birgit Pfau-Effinger and Christopher Grages Social Problems / Günter Albrecht Social Theory / Wolfgang Ludwig Schneider Society / Uwe Schimank Space. Urban, Rural, Territorial / Martina Löw Technology and Innovation / Werner Rammert Work and Labor / Brigitte Aulenbacher and Johanna Grubner List of Contributors Index

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"The book provides a fresh take on the difference between the lived experience inside Ferrari and the perception from outside, combining intense scrutiny and global fan adulation." — Motorsport.com “The photographs in the book, reproduced with startling clarity while still maintaining a period-correct palette, are a joy to study, demonstrating with profound evidence the progression of the drivers, cars, and competition—as well as the photographers' techniques—through the decades” - Car and Driver "The book’s rich visual history and detailed descriptions make it a must-have for any Ferrari enthusiast... ." — Global Village Space "Beautiful photography is a great way to focus on Ferrari racing, from early Grand Prix to present-day Formula 1." — Car and Driver "A must-have book for the Ferrari fan." — Antique & Collectors Trader "...simply oozes the Ferrari mystique from every page. Even though I've loved Ferrari for decades, reading this book was like falling in love with Ferrari all over again for the very first time. Yes, no question, it's a must-have Ferrari book." — Prancing Horse Magazine Ferrari is the beating heart of the global sporting phenomenon that is Formula 1. Its founder, Enzo Ferrari, was born on the racetrack as a competition driver before he became a creator of mythical road cars. No other team can inspire the passion or match the stories of triumph and tragedy. Rainer Schlegelmilch and Ercole Colombo are two of Formula 1’s most legendary photographers. They covered the sport from the 1960s onwards, with amazing access inside the Scuderia. Here, for the first time, they come together to pay tribute to Formula 1’s most iconic team. Ferrari: From Inside and Outside features contributions from iconic figures including Piero Ferrari, Luca di Montezemolo, Stefano Domenicali, Jean Todt and legendary designer Mauro Forghieri. The book is edited by internationally celebrated Formula 1 commentator and Michael Schumacher’s biographer, James Allen.

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