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Phonetics - the study and classification of speech sounds - is a major sub-discipline of linguistics. Bringing together a team of internationally renowned phoneticians, this handbook provides comprehensive coverage of the most recent, cutting-edge work in the field, and focuses on the most widely-debated contemporary issues. Chapters are divided into five thematic areas: segmental production, prosodic production, measuring speech, audition and perception, and applications of phonetics. Each chapter presents an historical overview of the area, along with critical issues, current research and advice on the best practice for teaching phonetics to undergraduates. It brings together global perspectives, and includes examples from a wide range of languages, allowing readers to extend their knowledge beyond English. By providing both state-of-the-art research information, and an appreciation of how it can be shared with students, this handbook is essential both for academic phoneticians, and anyone with an interest in this exciting, rapidly developing field.
Expands the definition of second-generation literature to include texts written from the point of view of the children of Nazi perpetrators.
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.
Sound and Score brings together music expertise from prominent international researchers and performers to explore the intimate relations between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Considering "notation" as the totality of words, signs, and symbols encountered on the road to an accurate and effective performance of music, this book embraces different styles and periods in a comprehensive understanding of the complex relations between invisible sound and mute notation, between aural perception and visual representation, and between the concreteness of sound and the iconic essence of notation. Three main perspectives structure the analysis: a conceptual approach that offers contributions from different fields of enquiry (history, musicology, semiotics), a practical one that takes the skilled body as its point of departure (written by performers), and finally an experimental perspective that challenges state-of-the-art practices, including transdisciplinary approaches in the crossroads to visual arts and dance.
During the late nineteenth century the city of Berlin developed such a reputation for lawlessness and sexual licentiousness that it came to be known as the "Whore of Babylon." Out of this reputation for debauchery grew an unusually rich discourse around prostitution. In Berlin Coquette, Jill Suzanne Smith shows how this discourse transcended the usual clichés about prostitutes and actually explored complex visions of alternative moralities or sexual countercultures including the "New Morality" articulated by feminist radicals, lesbian love, and the "New Woman." Combining extensive archival research with close readings of a broad spectrum of texts and images from the late Wilhelmine and Weimar periods, Smith recovers a surprising array of productive discussions about extramarital sexuality, women’s financial autonomy, and respectability. She highlights in particular the figure of the cocotte (Kokotte), a specific type of prostitute who capitalized on the illusion of respectable or upstanding womanhood and therefore confounded easy categorization. By exploring the semantic connections between the figure of the cocotte and the act of flirtation (of being coquette), Smith’s work presents flirtation as a type of social interaction through which both prostitutes and non-prostitutes in Imperial and Weimar Berlin could express extramarital sexual desire and agency.
This volume explores post-2000s artistic engagements with Holocaust memory arguing that imagination plays an increasingly important role in keeping the memory of the Holocaust vivid for contemporary and future audiences.
Over the last few decades, vibrant debates regarding post-secularism have found inspiration and provocation in the works of Sigmund Freud. A new interest in the interconnection of psychoanalysis, religion and political theory has emerged, allowing Freud’s illuminating examination of the religious and mystical practices in “Obsessive Neurosis and Religious Practices,” and the exegesis of the origins of ethics in religion in Totem and Taboo, to gain currency in recent debates on modernity. In that context, the pivotal role of Freud’s masterpiece, Moses and Monotheism, is widely recognized. Freud and Monotheism brings together fundamental new contributions to discourses on Freud and Moses, as well as new research at the intersections of theology, political theory, and history in Freud’s psychoanalytic work. Highlighting the broad impact of Moses and Monotheism across the humanities, the contributors hail from such diverse disciplines as philosophy, comparative literature, cultural studies, German studies, Jewish studies and psychoanalysis. Jan Assmann and Richard Bernstein, whose books pioneered the earlier debate that initiated the Freud and Moses discourse, seize the opportunity to revisit and revise their groundbreaking work. Gabriele Schwab, Gilad Sharvit, Karen Feldman, and Yael Segalovitz engage with the idiosyncratic, eccentric and fertile nature of the book as a Spӓtstil, and explore radical interpretations of Freud’s literary practice, theory of religion and therapeutic practice. Ronald Hendel offers an alternative history for the Mosaic discourse within the biblical text, Catherine Malabou reconnects Freud’s theory of psychic phylogenesis in Moses and Monotheism to new findings in modern biology and Willi Goetschel relocates Freud in the tradition of works on history that begins with Heine, while Joel Whitebook offers important criticisms of Freud’s main argument about the advance in intellectuality that Freud attributes to Judaism.
These essays analyze representations of the Holocaust perpetrators. In doing so, they explore what has until now held critics back from this topic, including moral and emotional distaste, the dangers of confusing understanding with exculpation, and the possibility of problematic identification.
Offering a multifaceted approach to the Mexican-born director Guillermo del Toro, this volume examines his wide-ranging oeuvre and traces the connections between his Spanish language and English language commercial and art film projects.