Download Free Berlin In Wissenschaft Und Kunst Book in PDF and EPUB Free Download. You can read online Berlin In Wissenschaft Und Kunst and write the review.

To find more information about Rowman and Littlefield titles, please visit www.rowmanlittlefield.com.
Includes entries for maps and atlases.
German Post-Expressionism is the first study to reconstruct historically the evolution of Die neue Sachlichkeit, the slogan coined as a designation for the Post-Expressionist figural art that developed throughout Germany following the failed revolution of 1919. Rather than starting with the moment this Post-Expressionist movement was christened with a slogan (1923), Crockett investigates the sources and precepts of Post-Expressionism beginning with the anti-Expressionist stance of Dada in 1918 and the loss of faith in Expressionism on the part of some of its chief supporters during 1919-20.
This volume presents a collection of original papers at the intersection of philosophy, the history of science, cultural and theatrical studies. Based on a series of case studies on the 17th century, it contributes to an understanding of the role played by instruments at the interface of science and art. The papers pursue the hypothesis that the development and construction of instruments make a substantive contribution to the opening of new fields of knowledge, the development of new cultural practices, but also to the delineation of particular genres, methods, and disciplines. This perspective leads the authors to reflect anew on what actually defines an instrument and to develop a series of basic questions to determine what an instrument is - which actions does the instrument incorporate? – which actions does the instrument make possible? - when do the objects of examination themselves become instruments? – what skills are required to use an instrument, which skills does it produce? With its combination of new theoretical models and historical case studies, its detailed demonstration of the mutual influence of art and science with the instrument as the point of intersection, this volume enters new territory. It is of great value for all those interested in the history of our perception of instruments. Besides the editors, the authors of the papers are: Jörg Jochen Berns, Olaf Breidbach, Georges Didi-Huberman, Peter Galison, Sybille Krämer, Dieter Mersch, Hans-Jörg Rheinberger, Wilhelm Schmidt-Biggemann, and Otto Sibum.
Rich in implications for our present era of media change, The Promise of Cinema offers a compelling new vision of film theory. The volume conceives of “theory” not as a fixed body of canonical texts, but as a dynamic set of reflections on the very idea of cinema and the possibilities once associated with it. Unearthing more than 275 early-twentieth-century German texts, this ground-breaking documentation leads readers into a world that was striving to assimilate modernity’s most powerful new medium. We encounter lesser-known essays by Béla Balázs, Walter Benjamin, and Siegfried Kracauer alongside interventions from the realms of aesthetics, education, industry, politics, science, and technology. The book also features programmatic writings from the Weimar avant-garde and from directors such as Fritz Lang and F.W. Murnau. Nearly all documents appear in English for the first time; each is meticulously introduced and annotated. The most comprehensive collection of German writings on film published to date, The Promise of Cinema is an essential resource for students and scholars of film and media, critical theory, and European culture and history.
In the summer of 1876, Berlin anxiously awaited the arrival of what was billed as “the most gigantic ape known to zoology.” Described by European explorers only a few decades earlier, gorillas had rarely been seen outside of Africa, and emerging theories of evolution only increased the public’s desire to see this “monster with human features.” However, when he arrived, the so-called monster turned out to be a juvenile male less than thirty-two inches tall. Known as M’Pungu (Master Pongo), or simply Pongo, the gorilla was put on display in the Unter den Linden Aquarium in the center of Berlin. Expecting the horrid creature described by the news outlets of the time, the crowds who flocked to see Pongo were at first surprised and then charmed by the little ape. He quickly became one of the largest attractions in the city, and his handlers exploited him for financial gain and allowed doctors and scientists to study him closely. Throughout his time in Europe, Pongo was treated like a person in many respects. He drank beer, ate meat, slept at the home of the head of the aquarium, and “visited” London and Hamburg. But this new lifestyle and foreign environment weren’t healthy for the little gorilla. Pongo fell ill frequently and died of “consumption” in November 1877, less than a year and a half after being brought to Europe. An irresistible read, illustrated with contemporaneous drawings, this critical retelling of the expedition that brought Pongo to Berlin and of his short life in Europe sheds important light on human-animal interactions and science at a time in Western society when the theory of evolution was first gaining ground.