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Professor Bruford shows how the ideal of self-cultivation entered into the thought of a number of highly individual German philosophers, theologians, poets and novelists.
Cities are both real and imaginary places whose identity is dependent on their distinctive heritage: a network of historically transmitted cultural resources. The essays in this volume, which originate from a lecture series at the Institute of Germanic & Romance Studies, University of London, explore the complex and multi-layered identities of European cities. Themes that run through the essays include: nostalgia for a grander past; location between Eastern and Western ideologies, religions and cultures; and the fluidity and palimpsest quality of city identity. Not only does the book provide different thematic angles and a variety of approaches to the investigation of city identity, it also emphasizes the importance of diverse cultural components. The essays presented here discuss cultural forms as various as music, architecture, literature, journalism, philosophy, television, film, myths, urban planning and the naming of streets.
Romance between the poet Novalis and his fiancée Sophie, newly introduced by Candia McWilliam. The year is 1794 and Fritz, passionate, idealistic and brilliant, is seeking his fathers permission to announce his engagement to his hearts desire: twelve-year-old Sophie. His astounded family and friends are amused and disturbed by his betrothal. What can he be thinking?
Since its publication, C.F. Gauss's Disquisitiones Arithmeticae (1801) has acquired an almost mythical reputation, standing as an ideal of exposition in notation, problems and methods; as a model of organisation and theory building; and as a source of mathematical inspiration. Eighteen authors - mathematicians, historians, philosophers - have collaborated in this volume to assess the impact of the Disquisitiones, in the two centuries since its publication.
International publishing in the Netherlands had a glorious tradition in the seventeenth and eighteenth centuries. A remarkable revival took place after 1933, when several Dutch publishers began to issue books written by exiles of the Nazi regime in the German language. The decline of German scholarly and scientific publishing during the same time inspired a number of other Dutch publishers to expand their programs or start new ones. As the English language became more prominent internationally, enterprising Dutch publishers began to explore these markets as well. After the Germans invaded the Netherlands, a number of printers began to produce finely printed books and pamphlets in many languages clandestinely, as an act of defiance or to raise money for underground causes. This book documents these trends and events in the form of a series of bio-bibliographical portraits of the major participating publishers.
Musicologist Pauline Fairclough explores the evolving role of music in shaping the cultural identity of the Soviet Union in a revelatory work that counters certain hitherto accepted views of an unbending, unchanging state policy of repression, censorship, and dissonance that existed in all areas of Soviet artistic endeavor. Newly opened archives from the Leninist and Stalinist eras have shed new light on Soviet concert life, demonstrating how the music of the past was used to help mold and deliver cultural policy, how “undesirable” repertoire was weeded out during the 1920s, and how Russian and non-Russian composers such as Mozart, Tchaikovsky, Wagner, Bach, and Rachmaninov were “canonized” during different, distinct periods in Stalinist culture. Fairclough’s fascinating study of the ever-shifting Soviet musical-political landscape identifies 1937 as the start of a cultural Cold War, rather than occurring post-World War Two, as is often maintained, while documenting the efforts of musicians and bureaucrats during this period to keep musical channels open between Russia and the West.
Approaches the topic of classical music in the GDR from an interdisciplinary perspective, questioning the assumption that classical music functioned purely as an ideological support for the state.
Carl Friedrich Gauss’s textbook, Disquisitiones arithmeticae, published in 1801 (Latin), remains to this day a true masterpiece of mathematical examination. .
Memories of and attitudes to the German Democratic Republic (GDR), or East Germany, within contemporary Germany are characterized by their variety and complexity, whilst the debate over how to remember the GDR tells us a lot about how Germans see themselves and their future. This volume provides a range of international perspectives.
Nearly three hundred illustrations and a text reveal the entire range of the Vatican's artistic holdings, replete with priceless masterworks from all periods.