Search results for ""author robert"

The art of Robert Rauschenberg (1925-2008) is usually viewed as quite distinct from Surrealism, a movement which the artist himself displayed some hostility towards. However, Rauschenberg had a very positive reception among Surrealists, particularly across the period 1959-69. In the face of Rauschenberg’s avowals of his own ‘literalism’ and insistence on his art as ‘facts,’ this book gathers generous evidence of the poetic, metaphorical, allusive, associative and connotative dimensions of the artist's oeuvre as identified by Surrealists, and thus extrapolates new readings from Rauschenberg's key works on that basis. By viewing Rauschenberg’s art against the expansion of the cultural influence of the United States in Europe in the period after the Second World War and the increasingly politicized activities of the Surrealists in the era of the Algerian War of Independence (1954-62), Robert Rauschenberg and Surrealism shows how poetic inference of the artist’s work was turned towards political interpretation. By analysing Rauschenberg’s art in the context of Surrealism, and drawing from it new interpretations and perspectives, this volume simultaneously situates the Surrealist movement in 1960s American art criticism and history.

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Profoundly original yet insistent on the derivative quality of his work, transgressive yet affirmative of tradition, Robert Duncan (1919-1988) was a generative force among American poets, and his poetry and poetics establish him as a major figure in mid- and late- 20th-century American letters. This second volume of Robert Duncan's collected poetry and plays presents authoritative annotated texts of both collected and uncollected work from his middle and late writing years (1958-1988), with commentaries on each of the five books from this period: The Opening of the Field, Roots and Branches, Bending the Bow, and the two volumes of Ground Work. The biographical and critical introduction discusses Duncan as a late Romantic and postmodern American writer; his formulation of a homosexual poetics; his development of the serial poem; the notation and centrality of sound as organizing principle; his relations with such fellow poets as Robin Blaser, Charles Olson, and Jack Spicer; his indebtedness to Alfred North Whitehead; and his collaborations with the painter Jess Collins, his lifelong partner. Texts include his anti-war poems of the 1960s and 70s, his homages to Dante and other canonical poets, and his translations from the French of Gerard de Nerval, as well as the complete Structure of Rime and Passages series.

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Profoundly original yet insistent on the derivative quality of his work, transgressive yet affirmative of tradition, Robert Duncan (1919-1988) was a generative force among American poets, and his poetry and poetics establish him as a major figure in mid- and late- 20th-century American letters. This second volume of Robert Duncan’s collected poetry and plays presents authoritative annotated texts of both collected and uncollected work from his middle and late writing years (1958-1988), with commentaries on each of the five books from this period: The Opening of the Field, Roots and Branches, Bending the Bow, and the two volumes of Ground Work. The biographical and critical introduction discusses Duncan as a late Romantic and postmodern American writer; his formulation of a homosexual poetics; his development of the serial poem; the notation and centrality of sound as organizing principle; his relations with such fellow poets as Robin Blaser, Charles Olson, and Jack Spicer; his indebtedness to Alfred North Whitehead; and his collaborations with the painter Jess Collins, his lifelong partner. Texts include his anti-war poems of the 1960s and 70s, his homages to Dante and other canonical poets, and his translations from the French of Gérard de Nerval, as well as the complete Structure of Rime and Passages series.

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In the nineteenth century, the new field of medical bacteriology identified microorganisms and explained how they spread disease. This book interweaves the history of this discipline and the biography of one of its founders, Nobel Prize-winning German physician Robert Koch (1843-1910). Koch contributed to modern medicine by inventing or improving fundamental techniques such as bacterial staining, solid culture media, mass pure cultures, and the use of animal models. His discoveries, which dominated medical science at the turn of the last century, are epitomized in a set of rules named after him. "Koch's Postulates" are still invoked today in attempts to prove the causal involvement of pathogens in infectious diseases. In a double history, Christoph Gradmann narrates the development of a discipline and the biography of a scientist. Drawing on Koch's extensive laboratory notes, Gradmann details how Koch developed his scientific method and discovered the bacterial causes of anthrax, tuberculosis, and cholera. Koch tried to bring this knowledge to clinical medicine by developing medicines that would specifically target the bacterial pathogens he identified. And Koch's passion for personal travel developed into a career signature, as he became a pioneer in the study of tropical diseases. A fascinating look into Koch's personality and his experimental work in medical bacteriology, Laboratory Disease reveals both the biographical and the historical roots of our modern understanding of infectious diseases.

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A Modern Master   Robert E. McGinnis began his career in 1947 as a cartoonist, and produced his first cover illustrations for 1956 issues of the magazines True Detective and Master Detective. Then in 1958, he painted his first paperback book cover, and from that day forward his work was in demand.   The emergence of the “McGinnis Woman”—long-legged, intelligent, alluring, and enigmatic—established him as the go-to artist for detective novels. His work appeared on Mike Shayne titles and the Perry Mason series, and he produced 100 paintings for the Carter Brown adventures. Yet McGinnis became famous for his work in other genres as well: espionage, romance, historicals, gothics, and Westerns.   McGinnis’s first major magazine assignments were for The Saturday Evening Post, and his work has graced the pages of Cosmopolitan, National Geographic, Good Housekeeping, Guideposts

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In the latest thriller featuring the legendary Boston PI, Spenser heads to the City of Angels to meet old friends and new enemies in a baffling missing person case that might shake Tinseltown to its core. Gabby Leggett left her Boston family with big dreams of making it as a model/actress in Hollywood. Two years later, she disappears from her apartment. Her family, former boyfriend, friends--and the police--have no idea where she is and no leads. Leggett's mother hires Spenser to find her, with help of his former apprentice, Zebulon Sixkill, now an L.A. private eye. Spenser barely has time to unpack before the trail leads to a powerful movie studio boss, the Armenian mob, and a shadowy empowerment group some say might be a dangerous cult. It's soon clear that Spenser and Sixkill may be outgunned this time, and series favorites Chollo and Bobby Horse ride to the rescue to provide backup. From the mansions of Beverly Hills to the lawless streets of a small California town, Spenser will need to watch his step. In Hollywood, all that glitters isn't gold. And not all those who wander are lost.

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During a few years in the late 1940s and early 1950s Robert Longden took a remarkable set of photographs of the narrow boat community at Hawkesbury Stop - the main meeting point for those who worked the Midlands canals. The images are of a close community and represent its members in a very intimate way, at work, at play, in their domestic affairs, and as they lived on the paired and single colourful narrow boats. They illustrate the close relationship between all ages and types within the community, and the dramatic boat shapes and infrascape of this rural and industrial area. Sonia Rolt, who herself worked the canals during the period and knew the photographer, provides an introduction, which details how Robert Longden came to this passionate involvement. It also sets the photographs in the context of their time, the last period when the narrow boats could be said to play a serious part in transporting goods in quantity. Informative captions identify the scenes before you. Providing a rare insight into the community who worked the waterways when it was still a way of life for many, this book will appeal not only to canal enthusiasts, but to anyone interesting in Britain's social and industrial heritage.

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This is a fast-moving tale of passion and politics. In Prince Otto, first published in serial form in 1885, Stevenson uses his genius for adventure and romance to explore some decidedly grown-up themes. The tiny 19th-century German state of Grunewald seems to be a principality of the world of fairy-tale. But its ruler is beset in public by the forces of modern politics, and troubled in private by an unhappy marriage. Ill-prepared to deal with either, Otto is forced to choose between them. This first fully edited edition of the novel will provoke readers to think again about the scope and purpose of Stevenson's brilliant story-telling. It explores the most modern of themes, the moral compromises required by marriage: a romance in which the marriage of the hero and the heroine is not the happy conclusion of the plot, but the problem that the plot has to resolve. It is a fascinating text for what it tells us about Stevenson's goals and aspirations at this crucial stage of his career, and about the changing nature of the novel in English at the end of the 19th-century.

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The volume collects a rich selection of photographs from the archives of the Magnum Photos agency, taken by Robert Capa, in a combination of emblematic shots of his work and images that have appeared more rarely. The intent is to hint at some facets of a passionate and ultimately elusive character as Capa was: a courageous witness of his time, a strong, insatiable and at the same time dissatisfied personality, with the traits of a gambler. Therefore, not only the war images that made him one of the most famous photojournalists of the 20th century, but also lesser-known shots that allow you to appreciate the very high formal quality of his photography and, together with it, his personality. Text in English, Italian and French.

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When two seemingly unconnected mysterious deaths occur on his watch, police chief Jesse Stone must pull out all the stops to unravel the truth and stop a killer from striking again. The small town of Paradise is devastated when a star high-school baseball player is found dead at the bottom of a bluff just a day after winning the team's biggest game. For Jesse, the loss is doubly difficult - the teen was the nephew of his colleague, Suitcase Simpson, and Jesse had been coaching the young shortstop. As he searches for answers about how the boy died and why, he is stonewalled at every turn, and it seems that someone is determined to keep him from digging further. Jesse suddenly must divide his attention between two cases after the shocking murder of former Paradise police chief, Charlie Farrell. Before his death, Farrell had been looking into a series of scam calls that preyed upon the elderly. But how do these 'ghost calls' connect to his murder? When threats - and gunshots - appear on Jesse's own doorstep, the race to find answers is on. Both old and new enemies come into play, and in the end, Jesse and his team must discover the common factor between the two deaths in order to prevent a third.

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Research in the History of Economic Thought and Methodology Volume 37C features a symposium celebrating the centenary of the influential economist and historian of economic thought Robert Heilbroner. Luca Fiorito, Harald Hagemann, Edward Nell, and Steven Pressman contribute to the symposium. The volume also features original general-research contributions from Samuel Hollander and Luca Fiorito, as well as a new discovery of material made by Maxime Desmarais-Tremblay and Marianne Johnson from the archives of Richard A. Musgrave.

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Robert Rauschenberg’s engagement with photography began in the late 1940s under the tutelage of Aaron Siskind and Hazel Larsen Archer at Black Mountain College in North Carolina. Their combined influence was so great that for a time Rauschenberg was unsure whether to pursue painting or photography as a career. Instead he chose both. This volume gathers and surveys Rauschenberg’s numerous uses of photography for the first time. It includes portraits of friends, studio shots, photographs used in the ‘Combines’ series, silkscreens, photographs of lost works and works in progress, allowing us to re-imagine almost the entirety of the artist’s work in light of his always inventive uses of photography, while also supplying previously unseen glimpses into his social nexus of the 1950s and 60s.

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Arguably no other nineteenth-century German composer was as literate or as finely attuned to setting verse as Robert Schumann. Jon W. Finson challenges long-standing assumptions about Schumann's Lieder, engaging traditionally held interpretations. He argues against the belief that the "Year of Song" simply reflects Schumann's personal life. Finson also devotes attention to the form and metric structure of German poetry that is almost entirely new to the discussion of Schumann's songs.Arranged in part thematically, rather than merely by strict compositional chronology, this book speaks to the heart of Schumann's music. Finson's sustained attention to performance, such as questions of whether two singers might divide performance of cycles or whether miscellanies form coherent entities, allows the reader to engage Schumann's songs in novel ways.Finson brings original research and the most recent scholarship to the musically literate public and the expert alike. This represents the definitive work on Schumann's songs and the standard reference for any Schumann enthusiast.

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From 1992 to 2004, Dia Art Foundation presented the Robert Lehman Lectures on Contemporary Art, in which a distinguished array of scholars, critics and cultural historians engaged in cross-disciplinary critical discourse around Dia's exhibition program. The lectures were subsequently collected into a related series of publications, providing a valuable record and extending the debate on contemporary artistic practice and theory. This fifth and final volume focuses on analyses of the work of internationally recognized artists Jo Baer, Pierre Huyghe, Vera Lutter, Gerhard Richter, Rosemarie Trockel and Robert Whitman.

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'No one alive can write sentences like he can. He's the missing evolutionary link between William Burroughs and Virginia Woolf' Olivia Laing'Among the most brilliant novelists writing today' Robert Macfarlane'Truly gets to the heart of that strange, indefinable otherness of the wild northern landscape' Benjamin MyersRetreating from the ruins of his marriage, Mike leaves London for the wildness of the Yorkshire moors, where he falls in with a group of climbers - a band of misfits and mavericks bound by the pursuit of the unattainable: the perfect climb.Travelling from abandoned urban quarries to misty, lichened crags, Mike discovers an intensity of experience - a wash of pain, fear and excitement - that causes the rest of his world to recede. Increasingly addicted to the adrenaline, folklore and camaraderie of the sport, he begins to lose his grip on the line between passion and obsession - at a cost.With an introduction by Robert Macfarlane

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Robert Duncan’s nine lectures on Charles Olson, delivered intermittently from 1961 to 1983, explore the modernist literary background and influences of Olson’s influential 1950 essay “Projective Verse.” These transcribed talks pay tribute to Olson and expand our knowledge of Duncan’s vision of modernist writing.

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This volume contains analyses and previously unpublished documents concerning Robert Havemann and his evolution to becoming an opponent of the SED regime. No other intellectual in the GDR was such a harsh opponent of the SED regime as Robert Havemann. A Communist and a Nazi resistance fighter through and through, Havemann was one of the leaders in erecting the new GDR. His advocacy against all forms of social and political subjugation, however, eventually turned him into an opponent of the reigning regime of the GDR. The contributions in this volume illuminate his development and look at his role in the historical shifts that took place in East Germany. The articles are complemented by the publication of important documents from his estate and the Stasi reports on his spectacular lectures held in 1964.

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From the time they first met as undergraduates at Columbia College in New York City in the mid-1930s, the noted editor Robert Giroux (1914–2008) and the Trappist monk and writer Thomas Merton (1915–1968) became friends. The Letters of Robert Giroux and Thomas Merton capture their personal and professional relationship, extending from the time of the publication of Merton's 1948 best-selling spiritual autobiography, The Seven Storey Mountain, until a few months before Merton's untimely death in December 1968. As editor-in-chief at Harcourt, Brace & Company and then at Farrar, Straus & Giroux, Giroux not only edited twenty-six of Merton's books but served as an adviser to Merton as he dealt with unexpected problems with his religious superiors at the Abbey of Our Lady of Gethsemani in Kentucky, as well as those in France and Italy. These letters, arranged chronologically, offer invaluable insights into the publishing process that brought some of Merton's most important writings to his readers. Patrick Samway, S.J., had unparalleled access not only to the materials assembled here but to Giroux's unpublished talks about Merton, which he uses to his advantage, especially in his beautifully crafted introduction that interweaves the stories of both men with a chronicle of their personal and collaborative relationship. The result is a rich and rewarding volume, which shows how Giroux helped Merton to become one of the greatest spiritual writers of the twentieth century.

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The world's most ruthlessly efficient assassin, Jason Bourne, has carved a bloody swathe through all his opponents but now he's facing the one force he can't defeat - his own past.

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Browning’s Fra Lippo Lippi says that we may pass things a hundred times and never see them. One thing that Browning’s readers have passed without seeing, or at least without remarking upon, is the circular conclusion in so many of his poems. Some sixty poems (almost a third of them) have such conclusions. These sixty span his entire career and include both well-known and neglected poems. The circular conclusion is so called because it returns to the introduction — circles back round to it — by repeating something from the introduction. Although in principle this rhetorical device is quite simple, in practice Browning works many and complex variations on it. Also, by incorporating this repeated words or phrases within the body of the poems, he uses them to make structural divisions. And above all, by selecting for repetition key words or phrases, he indicates central themes in the poems. An analysis of repetition in the poems allows us to see more clearly their circularity, the divisions of the circles, and their themes. It also brings to light thematic dynamism of the poems, some of them concluding with a restatement of the theme set forth in the repetition to trend at a point beyond the original idea, some reversing in their conclusions the statement made in the introduction, and some restating at the end the introductory statement after two reversals. Finally, by focusing on the introductions and conclusions of the poems, we clarify the dramatic situations, which are ordinarily established in these two places, and come to see their relationships with the monologues they encircle. All this we see, not with the optics of modern literary theory, but simply by looking at Browning’s work with the same careful attention Fra Lippo Lippi pays to God’s creation.

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