"As a cultural history of post-Enlightenment Europe, this is an important book. As a teacher of culture courses, I know there is little available that is even close in terms of excitement, breadth, and innovation."--Russell A. Berman, Stanford University "As a cultural history of post-Enlightenment Europe, this is an important book. As a teacher of culture courses, I know there is little available that is even close in terms of excitement, breadth, and innovation."--Russell A. Berman, Stanford University
Kokoschka's unique contribution to the history of twentieth century art is becoming ever more apparent. This monograph contains a broad selection of Kokoschka's finest paintings, in all genres and from all periods of the artist's remarkably long and productive career, including his lesser known but no less significant later works. Each of the beautifully reproduced plates in the volume is accompanied by an informative commentary, indicating the place of the work in Kokoschka's development and elucidating its content. Individual essays by experts discuss each phase of the artist's career.
This book offers an innovative examination of the interactions of science and technology, art, and literature in the nineteenth and twentieth centuries. Scholars in the history of art, literature, architecture, computer science, and media studies focus on five historical themes in the transition from energy to information: thermodynamics, electromagnetism, inscription, information theory, and virtuality. Different disciplines are grouped around specific moments in the history of science and technology in order to sample the modes of representation invented or adapted by each field in response to newly developed scientific concepts and models. By placing literary fictions and the plastic arts...
Thema des Buches ist die Ausstrahlung der Luftfahrt auf die Kultur des 20. Jahrhunderts. Beobachtet man die Wechselwirkungen zwischen der technologischen Entwicklung einerseits und Kunstwerken, Architekturen, dem kulturellen SelbstverstAndnis andererseits, so fungiert die Luftfahrt als einer der Katalysatoren fA1/4r neue Konzepte. Variable Bezugssysteme traten an die Stelle gewohnter Ordnungen. Christoph Asendorf sucht in verschiedenen kulturellen Manifestationen a " von futuristischen EntwA1/4rfen A1/4ber Le Corbusier und Archigram bis zu den Romanen von Thomas Pynchon a " nach A1/4bergreifenden Dispositionen, die unserer Epoche in ihrem VerhAltnis zum Raum eigentA1/4mlich sind.
Capital cities have been the seat of political power and central stage for their state's political conflicts and rituals throughout the ages. In the modern era, they provide symbols for and confer meaning to the state, thereby contributing to the "invention" of the nation. Capitals capture the imagination of natives, visitors and outsiders alike, yet also express the outcomes of power struggles within the political systems in which they operate. This volume addresses the reciprocal relationships between identity, regime formation, urban planning, and public architecture in the Western world. It examines the role of urban design and architecture in expressing (or hiding) ideological beliefs and political agenda. Case studies include "old" capitals such as Rome, Vienna, Berlin and Warsaw; "new" ones such as Washington DC, Ottawa, Canberra, Ankara, Bonn, and Brasília; and the "European" capital Brussels. Each case reflects the authors' different disciplinary backgrounds in architecture, history, political science, and urban studies, demonstrating the value of an interdisciplinary approach to studying cities.
Weimar cultural critics and intellectuals have repeatedly linked the dynamic movement of the cinema to discourses of life and animation. Correspondingly, recent film historians and theorists have taken up these discourses to theorize the moving image, both in analog and digital. But, many important issues are overlooked. Combining close readings of individual films with detailed interpretations of philosophical texts, all produced in Weimar Germany immediately following the Great War, Afterlives: Allegories of Film and Mortality in Early Weimar Germany shows how these films teach viewers about living and dying within a modern, mass mediated context. Choe places relatively underanalyzed films such as F. W. Murnau's The Haunted Castle and Arthur Robison's Warning Shadows alongside Martin Heidegger's early seminars on phenomenology, Sigmund Freud's Reflections upon War and Death and Max Scheler's critique of ressentiment. It is the experience of war trauma that underpins these correspondences, and Choe foregrounds life and death in the films by highlighting how they allegorize this opposition through the thematics of animation and stasis.