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As big and exciting as the next century, this is a novel of real life at our giddy, feverish, topsy-turvy edge of the millennium. Turn of the Century is a good old-fashioned novel about the day after tomorrow--an uproarious, exquisitely observed panorama of our world as the twentieth century morphs into the twenty-first, transforming family, marriage, and friendship and propelled by the supercharged global businesses and new technologies that make everyone's lives shake and spin a little faster. As the year 2000 progresses, George Mactier and Lizzie Zimbalist, ten years married, are caught up in the whirl of their centrifugally accelerating lives. George is a TV producer for the upstart network MBC, launching a truly and weirdly groundbreaking new show that blurs the line between fact and fiction. Lizzie is a software entrepreneur dealing with the breakneck pleasures and pains of running her own company in an industry where the rules are rewritten daily. Rocketing between Los An-geles and Seattle, with occasional stopovers at home in Manhattan for tag-team parenting of their three children, George and Lizzie are the kind of businesspeople who, growing up in the sixties and seventies, never dreamed they would end up in business. They're too busy to spend the money that's rolling in, and too smart not to feel ambivalent about their crazed, high-gloss existences, but nothing seems to slow the roller-coaster momentum of their inter-secting lives and careers. However, after Lizzie, recovering from a Microsoft deal gone awry, becomes a confidante and adviser to George's boss, billionaire media mogul Harold Mose, the couple discovers that no amount of sophisticated spin can obscure basic instincts: envy, greed, suspicion, sexual temptation--and, maybe, love. When they and their children are finally drawn into a thrilling, high-tech corporate hoax that sends Wall Street reeling (and makes one person very, very rich), George and Lizzie can only marvel at life's oversized surprises and hold on for dear life. Like Tom Wolfe's Bonfire of the Vanities, Kurt Andersen's Turn of the Century lays bare the follies of our age with laser-beam precision, creating memorable characters and dissecting the ways we think, speak, and navigate this new era of extreme capitalism and mind-boggling technology. Entertaining, imaginative, knowing, and wise, Turn of the Century is a richly plotted comedy of manners about the way we live now.
Much has been written about Cesar Chavez and the United Farm Workers' heyday in the 1960s and '70s, but the story of their profound, ongoing influence on 21st century social justice movements has until now been left untold. This book unearths this legacy.
This book is a state-of-the-art report on ocean law and politics today, written by 40 contributors from six continents. At this important early stage of implementation of the Law of the Sea Convention, this book assesses where we have been going in the past decade and charts the way ahead. Implementation of the Convention - from the perspective of interaction of politics and law - is the unifying theme of the book. Under this, three basic aspects have emerged as crucial during the 1990s: (1) evolution of new regimes; (2) institutionalisation; and (3) new patterns of participation. These are explored systematically in sections on: the Convention, its implementing agreements and related international institutions (Parts I and II); interaction of law of the sea with other regimes, including those for polar regions (Parts III and IV); the various levels (international, national and transnational) and actors involved in the implementation of the Convention (Part V); and a number of salient issues in implementation today (Part VI).
By the end of the nineteenth century, the world was ready to adopt the gold standard out of concerns of national power, prestige, and anti-English competition. Yet although the gold standard allowed countries to enact a virtual single world currency, the years before World War I were not a time of unfettered liberal economics and one-world, one-market harmony. Outside of Europe, the gold standard became a tool for nationalists and protectionists primarily interested in growing domestic industry and imperial expansion. This overlooked trend, provocatively reassessed in Steven Bryan's well-documented history, contradicts our conception of the gold standard as a British-based system infused with English ideas, interests, and institutions. In countries like Japan and Argentina, where nationalist concerns focused on infant-industry protection and the growth of military power, the gold standard enabled the expansion of trade and the goals of the age: industry and empire. Bryan argues that these countries looked less to Britain and more to North America and the rest of Europe for ideological models. Not only does this history challenge our idealistic notions of the prewar period, but it also reorients our understanding of the history that followed. Policymakers of the 1920s latched onto the idea that global prosperity before World War I was the result of a system dominated by English liberalism. Their attempt to reproduce this triumph helped bring about the global downturn, the Great Depression, and the collapse of the interwar world.
This book examines architecture, image, and media relationships as productive for architecture and architectural discourses. By arguing that the relationships between architecture and media cannot be dismissed via linear criticism of architecture and media or image, these relations are instead seen as a part of a sphere (a mediasphere) of complex relationships. In lieu of anything like a consensus on the contemporary condition of architecture (referring to the late twentieth and the twenty-first centuries), the starting point of this book is that the relationships between architecture, media, and images continue to multiply, owing to continuous technological advancements. Contemporary architecture considered in this book is related to the selected circumstances of high visibility, where architectural images are propelled into visibility and conflated with non-architectural images. This takes architecture outside of architectural-only discourse and into the public realm. By granting higher visibility to both the architectural images and architecture in the public realm, architecture can also be influenced by the various perceptions of the general public and can enter public consciousness via non-architectural media. With increased visibility, architecture’s far-reaching presence calls for more structured analysis of its nature and potential. As the analysed architecture in this book is associated with the discourses outside of architecture (some of which relate to terrorism, natural disaster, and branding and consumption), the limits of contemporary architectural discipline are questioned and extended. This book is written for academics and students in architectural history, theory, and criticism, particularly those interested in visual and media studies.
Children living in Great Britain and the United States at the beginning of each century between 1000 and 2000 A.D. describe their lifestyle at the time.
Beyond the Victorian/ Modernist Divide contributes to a new phase in the Victorian-modern debate of traditional periodization through the perspective lens of literature and the visual arts. Breaking away from conventionally fixed discourses and dichotomies, this book utilizes an interdisciplinary approach to examine the existence of overlaps and unexplored continuities between the Victorians, the post-Victorians and the modernists, including the fields of music, architecture, design, science, and social life. Furthermore, the book remaps the cultural history of two critical meta-narratives and their interdependence – the myth of "high modernism" and the myth of "Victorianism" – by building on recent scholarly work and addressing the question of the "turn of the century break theory" with a new set of arguments and contributions. The essays presented within acknowledge the existence of a break-theory in modernism, but question this theory by re-contextualising it while uncovering long-masked continuities between artists, genres and forms across the divide. The collection offers a new approach to modernism, Edwardianism, and Victorianism; utilizing the cross-fertilisation of interdisciplinary approaches, and by combining contributions that look forward from the Victorians with other contributions that look backward from the modernists. While literary modernism and its vexed relationships with the nineteenth century is a central subject of the book, further analysis includes artistic discourses and theories stemming from history, the visual arts, science, music and design. Each chapter offers a fresh interpretation of individual artists, navigating away from characteristic classifications of works, authors and cultural phenomena. Ultimately, the volume argues that though periodization and genre categories play substantial roles in this divide, it is also essential to be critically aware of the way cultural history has been, and continues to be, constructed.
"Out of Time: Designs for the Twentieth-Century Future is a collection of illustration art from the past century, portraying the indefatigable gee whiz of the imagined future."--BOOK JACKET.
Rewritten versions of contributions to an international conference held at the University of Antwerp in May 1992. Starting point for the conference was the vagueness of the very terms 'modernism' and 'modernity'. In the first section a group of comparatists address the theoretical and terminological problems of modernism. Practical readings of modernist writers; discussions of different modernist movements; and, the work of critics who have contributed to debates about modernism make up the second section. The third section looks at the problem of modernism from an interartistic and interdisciplinary perspective.