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The first book on master photographer Ernst Haas's work dedicated to both his classic and newly discovered New York City color photographs of the 1950s and 60s. Ernst Haas's color works reveal the photographer's remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images. For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas's tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.
This volume considers the film-stills of Ernst Haas, one of the most accomplished photographers of the twentieth century, transgressing the borders between static photography and the moving image. Haas worked with a variety of directors - from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino - covering movie genres from suspense (The Third Man; The Train) to the Western (The Oregon Trail; Little Big Man), and from comedy (Miracle in Milan; Love and Death) to musicals (West Side Story; Hello Dolly).
Color photographs depict the beauty of the elements, the seasons, plants, and animals
Far from being an inevitably aggressive and destructive force, nationalism is, for Ernst B. Haas, the primary means of bringing coherence to modernizing societies. In the second volume of his magisterial exploration of this topic, Haas emphasizes the benefits of liberal nationalism, which he deems more progressive than other nation-building formulas because it relies on reason to improve citizens' lives.The Dismal Fate of New Nations considers several societies that modernized relatively recently, many of them aroused to nationalism by the imperialism of the "old" nation-states. The book probes the different patterns of development in emerging countries—Iran, Egypt, India, Brazil, Mexico, China, Russia, and Ukraine—for insights into the possibilities and limitations of all nationalisms, especially liberal nationalism.Employing a systematic comparative perspective, Haas organizes the book around the notion of change and its management by political elites in Asia, Eastern Europe, Latin America, and the Middle East. Haas particularly wants to understand how nationalism plays out in the politics of modernization within non-Western cultures, especially those where religions other than Christianity predominate. Where the hold of religion remains formidable, he argues, the mixture of traditional and secular-modernist institutions and beliefs will challenge the victory of liberal nationalism and the very success of nation-state formation.
Abstrakt is a collection of photographs selected by Ernst Haas for a two-projector 25-minute film he worked on until his death in 1986. The photographs span his entire career in color from 1952 to 1984. Many of the photographs were shown in Life magazine's first color issue devoted to Haas' 1953 story on New York, "Images of a Magic City," and in his 1962 solo exhibition Ernst Haas: Color Photography at The Museum of Modern Art, the first color retrospective at that institution. The photographs in this book show various abstractions--from street detritus to torn posters and other found objects. Haas considered this project to be the culmination of his work in photography. Ernst Haas was born in Vienna in 1921 and took up photography after World War II. His early work on returning Austrian prisoners of war brought him to the attention of Life, from whom he resolutely declined a job as staff photographer in order to maintain his independence. At the invitation of Robert Capa, Haas joined Magnum in 1949, developing close associations with Capa, Werner Bischof and Henri Cartier-Bresson. He began experimenting with color, and in time became the premier color photographer of the 1950s. In 1962 New York's Museum of Modern Art mounted its first solo exhibition of his color work. Haas's books were legion, with The Creation (1971) selling 350,000 copies. Haas received the Hasselblad Award in 1986, the year of his death. His books to date with Steidl are Color Correction (2011) and On Set (2015).
Do governments seeking to collaborate in such international organizations as the United Nations and the World Bank ever learn to improve the performance of those organizations? Can international organizations be improved by a deliberate institutional design that reflects lessons learned in peacekeeping, the protection of human rights, and environmentally sound economic development? In this incisive work, Ernst Haas examines these and other issues to delineate the conditions under which organizations change their methods for defining problems. Haas contends that international organizations change most effectively when they are able to redefine the causes underlying the problems to be addressed. He shows that such self-reflection is possible when the expert-generated knowledge about the problems can be made to mesh with the interests of hegemonic coalitions of member governments. But usually efforts to change organizations begin as adaptive practices that owe little to a systematic questioning of past behavior. Often organizations adapt and survive without fully satisfying most of their members, as has been the case with the United Nations since 1970. When Knowledge Is Power is a wide-ranging work that will elicit interest from political scientists, organization theorists, bureaucrats, and students of management and international administration. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990.
This new study revisits the work of the late Ernst Haas, assessing his relevance for contemporary European integration and its disparities. With his seminal book, The Uniting of Europe Haas laid the foundations for one of the most prominent paradigms of European integration – neofunctionalism. He engaged in inductive reasoning to theorize the dynamics of the European integration process that led from the Treaty of Paris in 1951 to the Treaty of Rome in 1957. The Treaty of Rome set the constitutional framework for a Common Market. Today, a second Treaty of Rome may lay the foundation for a European Constitution that embeds the Common Market in a European polity. Unfortunately, Haas will not be able to witness this path-breaking step in the development of a European political community, which he so aptly theorized almost five decades ago. This is all the more regrettable since students of European integration are more than ever challenged to tackle a major empirical puzzle: After 50 years of European integration, the member states managed to adopt a single currency and to develop common policies and institutions on justice and home affairs. The integration of foreign policy and defence, by contrast, is still lagging behind. This text delivers sharp insights into these issues. This book, previously published as a special issue of the Journal of European Public Policy, will be of great interest to all students and scholars of international relations, the European Union, European politics and Public Policy.
The University of Notre Dame Press is pleased to bring Ernst Haas's classic work on European integration, The Uniting of Europe, back into print. First published in 1958 and last printed in 1968, this seminal volume is the starting point for anyone interested in the pre-history of the European Union. Haas uses the European Coal and Steel Community (ECSC) as a case study of the community formation processes that occur across traditional national and state boundaries. Haas points to the ECSC as an example of an organization with the "power to redirect the loyalties and expectations of political actors." In this pathbreaking book Haas contends that, based on his observations of the actual integration process, the idea of a "united Europe" took root in the years immediately following World War II. His careful and rigorous analysis tracks the development of the ECSC, including, in his 1968 preface, a discussion of the eventual loss of the individual identity of the ECSC through its absorption into the new European Community. Featuring a new introduction by Haas analyzing the impact of his book over time, as well as an updated bibliography, The Uniting of Europe is a must-have for political scientists and historians of modern and contemporary Europe. This book is the inaugural volume of Notre Dame's new Contemporary European Politics and Society Series.
A National Book Critics Circle finalist • One of Vogue's Best Books of the Year A dazzling biography of one of the twentieth century's most respected painters, Helen Frankenthaler, as she came of age as an artist in postwar New York “The magic of Alexander Nemerov's portrait of Helen Frankenthaler in Fierce Poise is that it reads like one of Helen's paintings. His poetic descriptions of her work and his rich insights into the years when Helen made her first artistic breakthroughs are both light and lush, seemingly easy and yet profound. His book is an ode to a truly great artist who, some seventy years after this story begins, we are only now beginning to understand.” ―Mary Gabriel, author of Ninth Street Women At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew―and left her mark on―the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments--from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg―comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her.