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Why the Romantics Matter: Why The Romantics Matter (Why X Matters Series)
by Peter GayWith his usual wit and élan, esteemed historian Peter Gay enters the contentious, long-standing debates over the romantic period. Here, in this concise and inviting volume, he reformulates the definition of romanticism and provides a fresh account of the immense achievements of romantic writers and artists in all media. Gay’s scope is wide, his insights sharp. He takes on the recurring questions about how to interpret romantic figures and their works. Who qualifies to be a romantic? What ties together romantic figures who practice in different countries, employ different media, even live in different centuries? How is modernism indebted to romanticism, if at all? Guiding readers through the history of the romantic movement across Britain, France, Germany, and Switzerland, Gay argues that the best way to conceptualize romanticism is to accept its complicated nature and acknowledge that there is no “single basket” to contain it. Gay conceives of romantics in “families,” whose individual members share fundamental values but retain unique qualities. He concludes by demonstrating that romanticism extends well into the twentieth century, where its deep and lasting impact may be measured in the work of writers such as T. S. Eliot and Virginia Woolf.
Why the Theatre: In Personal Essays, College Teachers, Actors, Directors, and Playwrights Tell Why the Theatre Is So Vital to Them
by Sidney HomanWhy the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society. The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives. Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.
Why the Theatre: In Personal Essays, College Teachers, Actors, Directors, and Playwrights Tell Why the Theatre Is So Vital to Them
by Sidney HomanWhy the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society. The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives. Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.
Why theory?: Cultural critique in film and television
by Edward TomarkenEdward Tomarken's previous book, Filmspeak, was a study of literary theory in relation to contemporary mainstream films. Some of the abstruse ideas of early literary theorists (1950–70) had in fact permeated our thinking to such an extent that both films and theories enriched and shed light upon one another. One early response to Filmspeak was the question 'Why theory?’, a remark that provides the title of this new and exciting exploration of literature. In pursuit of an answer, Tomarken turns to the 'second generation' of critics (1970–2000), and analyses television programmes as well as films. He considers scholars such as Clifford Geertz and Martha Nussbaum who saw themselves as working in the field of cultural studies. Why theory? thus has a dual focus – on both culture and literary theory. The result of integrating cultural ideas with media interpretation sees Tomarken grapple with the question of the title: theory has become a part of our cultural life.
Why theory?: Cultural critique in film and television
by Edward TomarkenEdward Tomarken's previous book, Filmspeak, was a study of literary theory in relation to contemporary mainstream films. Some of the abstruse ideas of early literary theorists (1950–70) had in fact permeated our thinking to such an extent that both films and theories enriched and shed light upon one another. One early response to Filmspeak was the question 'Why theory?’, a remark that provides the title of this new and exciting exploration of literature. In pursuit of an answer, Tomarken turns to the 'second generation' of critics (1970–2000), and analyses television programmes as well as films. He considers scholars such as Clifford Geertz and Martha Nussbaum who saw themselves as working in the field of cultural studies. Why theory? thus has a dual focus – on both culture and literary theory. The result of integrating cultural ideas with media interpretation sees Tomarken grapple with the question of the title: theory has become a part of our cultural life.
Why We Build: Power And Desire In Architecture
by Rowan MooreBuildings are driven by human emotions and desires; hope, power, money, sex, the idea of home. In Why We Build Rowan Moore explores the making of buildings from conception to inhabitation and reveals the paradoxical power of architecture: it looks fixed and solid, but is always changing in response to the lives around it. Moving across the globe and through history, through works of folly, beauty, spectacle, and subtlety, Moore gives a provocative and iconoclastic view of what makes architecture, why it matters, and why we find it fascinating. You will never look at a building in the same way again.
Why We Love Die Hard
by Kim Taylor-FosterRediscover all the reasons you love Die Hard with this essential illustrated guide to the making of and impact of this quintessential action (and Christmas) flick!Fully loaded with John McClane sarcasm, Alan Rickman as a German terrorist, and Nakatomi Plaza blowing up on Christmas Eve, Die Hard is often cited as the film that took action blockbusters to the next level, but what has earned the film its fiercely devoted fan base? That's the question that Why We Love Die Hard seeks to answer. This is the first and only guide that combines entertaining information about the history and making of the film with a celebratory look at all the different aspects that have helped solidify Die Hard as a must-see film. A Die Hard lover's dream, this guide includes punchy illustrations paired alongside essays exploring the film's history, characters, unique film techniques, and the thematic elements that have helped this film become the beloved classic it is today.
Why We Make Things and Why it Matters: The Education of a Craftsman
by Peter KornWhy do we make things? Why do we choose the emotionally and physically demanding work of bringing new objects into the world with creativity and skill? Why does it matter that we make things well? What is the nature of work? And what is the nature of a good life?Part memoir, part polemic, part philosophical reflection, this is a book about the process of creation and what it means to be a craftsman in a mass-produced world. For woodworker Peter Korn, the challenging work of bringing something new and meaningful into the world through one’s own efforts is exactly what generates authenticity, meaning, and fulfilment, for which many of us yearn. This is not a ‘how-to’ book in any sense, Korn wants to get at the ‘why’ of craft in particular, and the satisfaction of creative work in general, to understand its essential nature. How does the making of objects shape our identities? How do the products of creative work inform society? In short, what does the process of making things reveal to us about ourselves? Korn draws on four decades of hands-on experience to answer these questions eloquently in this heartfelt, personal and revealing book.
Why We March: Signs of Protest and Hope--Voices from the Women's March
by ArtisanA striking collection of 500 of the most inspiring, provocative, humorous, and hopeful signs from the Women&’s March on Washington and &“sister marches&” across the globe
Why We Quilt: Contemporary Makers Speak Out about the Power of Art, Activism, Community, and Creativity
by Thomas KnauerIn this tribute to today&’s vibrant quilting community, prize-winning quilter and teacher Thomas Knauer has curated a stunning collection of quilts from a wide range of modern makers, accompanied by their testimonials about what inspires their work and imbues their craft with meaning.
Why We Watch: The Attractions of Violent Entertainment
America is fascinated by violence--where it comes from in ourselves, how it spreads through society, what effect it has on younger generations, and how it looks, in all its chilling and sanguine detail. This arresting collection of essays examines numerous facets of violence in contemporary American culture, ranging across literature, film, philosophy, religion, fairy tales, video games, children's toys, photojournalism, and sports. Lively and jargon-free, Why We Watch is the first book to offer a careful look at why we are drawn to depictions of violence and why there is so large a market for violent entertainment. The distinguished contributors, hailing from fields such as anthropology, history, literary theory, psychology, communications, and film criticism, include Allen Guttmann, Vicki Goldberg, Maria Tatar, Joanne Cantor, J. Hoberman, Clark McCauley, Maurice Bloch, Dolf Zillmann, and the volume's editor, Jeffery Goldstein. Together, while acknowledging that violent imagery has saturated western cultures for millennia, they aim to define what is distinctive about America's contemporary culture of violence. Clear, accessible and timely, this is a book for all concerned with the multiple points of access to violent representation in 1990s America.
Why You Like This Photo: The science of perception
by Brian DilgCombining science and photography, Brian Dilg explores the reasons behind Why You Like This Photo.
Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London
by Matthew C. HunterIn late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral. Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England. The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.
Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London
by Matthew C. HunterIn late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral. Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England. The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.
Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London
by Matthew C. HunterIn late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral. Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England. The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.
Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London
by Matthew C. HunterIn late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral. Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England. The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.
The Wicker Man (Devil's Advocates)
by Steve WigginsMany fans of Robin Hardy’s The Wicker Man (1973) may know that this classic is considered a fine sample of folk horror. Few will consider that it’s also a prime example of holiday horror. Holiday horror draws its energy from the featured festive day, here May Day. Sergeant Neil Howie (Edward Woodward), a “Christian copper,” is lured to the remote Scottish island Summerisle where, hidden from the eyes of all, a thriving Celtic, pagan religion holds sway. His arrival at the start of the May Day celebration is no accident. The clash between religions, fought on the landscape of the holiday, drives the story to its famous conclusion. In this Devil’s Advocate, Steve A. Wiggins delineates what holiday horror is and surveys various aspects of “the Citizen Kane of horror movies” that utilize the holiday. Beginning with a brief overview of Beltane and how May Day has been celebrated, this study considers the role of sexuality and fertility in the film. Conflicting with Howie’s Christian principles, this leads to an exploration of his theology as contrasted with that of Lord Summerisle (Christopher Lee) and his tenants. Such differences in belief make the fiery ending practically inevitable.
Wide Area Surveillance: Real-time Motion Detection Systems (Augmented Vision and Reality #6)
by Vijayan K. AsariThe book describes a system for visual surveillance using intelligent cameras. The camera uses robust techniques for detecting and tracking moving objects. The real time capture of the objects is then stored in the database. The tracking data stored in the database is analysed to study the camera view, detect and track objects, and study object behavior. These set of models provide a robust framework for coordinating the tracking of objects between overlapping and non-overlapping cameras, and recording the activity of objects detected by the system.
Widow Basquiat: A Memoir (Canons Ser. #25)
by Jennifer ClementMADONNA. ANDY WARHOL. KEITH HARING. FAB 5 FREDDIE. DEBBIE HARRY. JULIAN SCHNABEL. Jean-Michel Basquiat's transition from the subways to the chic gallery spaces of Manhattan brought the artist into the company of many of New York's established and aspiring stars. In 1988, unable to deal with the demands that his new fame brought, Basquiat, the most successful black visual artist in history, died from a heroin overdose at age twenty-seven. Widow Basquiat is an exploration of the artist as seen through the eyes of his muse, Suzanne. It is a love story like no other.
Widowhood and Visual Culture in Early Modern Europe (Women and Gender in the Early Modern World)
by Allison LevyWhereas recent studies of early modern widowhood by social, economic and cultural historians have called attention to the often ambiguous, yet also often empowering, experience and position of widows within society, Widowhood and Visual Culture in Early Modern Europe is the first book to consider the distinct and important relationship between ritual and representation. The fifteen new interdisciplinary essays assembled here read widowhood as a catalyst for the production of a significant body of visual material-representations of, for and by widows, whether through traditional media, such as painting, sculpture and architecture, or through the so-called 'minor arts,' including popular print culture, medals, religious and secular furnishings and ornament, costume and gift objects, in early modern Austria, England, France, Germany, Italy and Spain. Arranged thematically, this unique collection allows the reader to recognize and appreciate the complexity and contradiction, iconicity and mutability, and timelessness and timeliness of widowhood and representation.
Widowhood and Visual Culture in Early Modern Europe (Women and Gender in the Early Modern World)
by Allison LevyWhereas recent studies of early modern widowhood by social, economic and cultural historians have called attention to the often ambiguous, yet also often empowering, experience and position of widows within society, Widowhood and Visual Culture in Early Modern Europe is the first book to consider the distinct and important relationship between ritual and representation. The fifteen new interdisciplinary essays assembled here read widowhood as a catalyst for the production of a significant body of visual material-representations of, for and by widows, whether through traditional media, such as painting, sculpture and architecture, or through the so-called 'minor arts,' including popular print culture, medals, religious and secular furnishings and ornament, costume and gift objects, in early modern Austria, England, France, Germany, Italy and Spain. Arranged thematically, this unique collection allows the reader to recognize and appreciate the complexity and contradiction, iconicity and mutability, and timelessness and timeliness of widowhood and representation.
Wie das Leben spricht: Neuere Studien zu Michel Henry (Phaenomenologica #218)
by Rolf KühnDieses Buch entfaltet, wie das „originäre Wie“ des Lebens als sein Sich-Selbst-Sagen durch sein Sich-Selbst-Erscheinen zu verstehen ist. Eine solche radikal phänomenologische Problematik wird dabei unter dem umfassenden Begriff der Narrativität subsumiert. Entsprechend wird im Buch konkret analysiert, dass solches „Sagen“ überall dort stattfindet, wo sich Leben als selbstaffektive Passibilität ohne irgendeine Differenz vollzieht: im reinen Cogito als „Ich kann“, im Fleisch als Affekt und Trieb, in der kulturellen Lebenswelt als Ökonomie und Ideologie. Diesem konsequenten Aufbau gehorchen die beiden Hauptteile I und II, wobei sich die Einzeluntersuchungen solcher Narrativität in ihrer lebensphänomenologischen Ursprünglichkeit von der klassischen Bewusstseinslehre wie der ihr entsprechenden Ontologie als einer „Metaphysik der Repräsentation“ in all ihren wirkungsgeschichtlichen Formen abgrenzen. Ein solcher Zugang zur Lebensphänomenologie wird auf diese Weise zum ersten Mal in der Forschung durchgeführt und damit gleichzeitg ein fundamentaler Beitrag zum Verständnis des Denkens Michels Henrys und den Aufgaben der neueren Phänomenologie geleistet.
Wie die Dinge sprechen lernten: Eine Geschichte des Museumsobjektes 1968-2000 (Edition Museum #25)
by Mario SchulzeVom »schweigenden Objekt« zum »sprechenden Ding« - das Museumsobjekt hat seit den 1970er Jahren eine dramatische Wandlung durchgemacht. Mit den Vorstellungen von der Rolle der Objekte änderten sich auch die Ausstellungsgestaltungen: In den 1980er Jahren lösten Inszenierung und Szenografie die Texttafelausstellung ab, bevor in den 1990er Jahren die »sprechenden Dinge« ins Zentrum des musealen Geschehens rückten. Mario Schulze erzählt entlang der Ausstellungen zweier bundesrepublikanischer Museen - dem Historischen Museum Frankfurt/Main und dem Museum der Dinge Berlin - eine innovative Wissens- und Zeitgeschichte kulturhistorischer Museen.
Wie die Sopranos gemacht sind: Zur Poetik einer Fernsehserie
by Claudia Bath Marlene Sophie Deines Uwe Durst Vincent Fröhlich Sabrina Maag Tom Reiss Kristin RheinwaldThe Sopranos hat neue künstlerische Maßstäbe gesetzt. Das über die Episoden fortlaufende Geschehen verlässt die Vertrautheit automatisierter Schemata, die in jeder Folge aktualisiert werden und den meisten TV-Serien bis heute zugrunde liegen. Bisherige, im Wesentlichen englischsprachige Untersuchungen verfolgen mehrheitlich einen interpretativen Ansatz, während dieses Buch sich den Verfahren der Serie widmet. Es ist der erste deutschsprachige Sammelband zur Poetik der Sopranos.
Wie gestalten wir Gesellschaft?: Interdependenzen zwischen Design und dem Feld des Sozialen (Public Interest Design #4)
by Iris Ebert Sebastian Rahn Christoph RodatzDie »Gestaltung von Gesellschaft« wird zunehmend zum Anspruch unterschiedlicher Designausrichtungen wie zum Beispiel Social Design oder Public Interest Design. Damit verbunden ist die Vorstellung eines positiven Beitrags zu den gegenwärtigen Herausforderungen unserer Zeit. Hieraus ergeben sich vielfältige Überschneidungen mit anderen Disziplinen, zum Beispiel der Sozialen Arbeit, die sich ebenfalls im »Feld des Sozialen« verorten und darauf abzielen, soziales Miteinander zu beobachten, zu initiieren und zu begleiten. Mit der Überzeugung, voneinander lernen zu können, beleuchten die Beiträge des Bandes die Bedingungen, Formen und potenziellen Folgen einer kollaborativen Gesellschaftsgestaltung.