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Situating the French Revolution in the context of early modern globalization for the first time, this book offers a new approach to understanding its international origins and worldwide effects. A distinguished group of contributors shows that the political culture of the Revolution emerged out of a long history of global commerce, imperial competition, and the movement of people and ideas in places as far flung as India, Egypt, Guiana, and the Caribbean. This international approach helps to explain how the Revolution fused immense idealism with territorial ambition and combined the drive for human rights with various forms of exclusion. The essays examine topics including the role of smuggling and free trade in the origins of the French Revolution, the entwined nature of feminism and abolitionism, and the influence of the French revolutionary wars on the shape of American empire. The French Revolution in Global Perspective illuminates the dense connections among the cultural, social, and economic aspects of the French Revolution, revealing how new political forms-at once democratic and imperial, anticolonial and centralizing-were generated in and through continual transnational exchanges and dialogues. Contributors: Rafe Blaufarb, Florida State University; Ian Coller, La Trobe University; Denise Davidson, Georgia State University; Suzanne Desan, University of Wisconsin-Madison; Lynn Hunt, University of California, Los Angeles; Andrew Jainchill, Queen's University; Michael Kwass, The Johns Hopkins University; William Max Nelson, University of Toronto; Pierre Serna, Université Paris I Panthéon-Sorbonne; Miranda Spieler, University of Arizona; Charles Walton, Yale University
The concluding volume of the trilogy charts the growth of the world economy from the 15th to the 18th century concentrating on the human activity that underlies the business of life.
A stunning and unique collection of satellite images of Earth that offer an unexpected look at humanity, derived from the wildly popular Daily Overview Instagram project. Inspired by the “Overview Effect”—a sensation that astronauts experience when given the opportunity to look down and view the Earth as a whole—the breathtaking, high definition satellite photographs in OVERVIEW offer a new way to look at the landscape that we have shaped. More than 200 images of industry, agriculture, architecture, and nature highlight incredible patterns while also revealing a deeper story about human impact. This extraordinary photographic journey around our planet captures the sense of wonder gained from a new, aerial vantage point and creates a perspective of Earth as it has never been seen before.
The essays in this volume demonstrate that on the eastern shores of the Mediterranean there were rich, variegated, and important phenomena associated with the Crusades, and that a full understanding of the significance of the movement and its impact on both the East and West must take these phenomena into account.
Originally published in 1983, this book is about the way we see things – or think we do, which is by no means the same – and about the ways in which we have tried to reproduce that visual concept in diagrams, pictures, photographs, films and television. Whatever the medium, if any degree of realism is intended, some use of perspective is inevitable, and some understanding of it can aid the appreciation of the result. But here the technicalities of perspective geometry are treated as far as possible non-technically, by a common-sense approach. Students, would-be artists or architects, are warned in the Preface that they will travel second-class in the author’s train of thought (the ‘general reader’ coming first), but they may well find the journey worthwhile in that it provides a background to a subsequent, more detailed studies. Lawrence Wright shows that every form of perspective representation has some innate falsity, but that most such forms offer an adequate makeshift; that rules of geometry often need to be bent; that labour-saving dodges and shortcuts exist. As he says, perspective drawing, like politics, is an art of the possible. In reading this book, beginners may find it all simpler than they had supposed, though the established expert may in some interesting respects find just the opposite. The general reader may thereafter find himself seeing things – and representations of them – in a new light.
For astronaut Ron Garan, living on the International Space Station was a powerful, transformative experience—one that he believes holds the key to solving our problems here on Earth. On space walks and through windows, Garan was struck by the stunning beauty of the Earth from space but sobered by knowing how much needed to be done to help this troubled planet. And yet on the International Space Station, Garan, a former fighter pilot, was working work side by side with Russians, who only a few years before were “the enemy.” If fifteen nationalities could collaborate on one of the most ambitious, technologically complicated undertakings in history, surely we can apply that kind of cooperation and innovation toward creating a better world. That spirit is what Garan calls the “orbital perspective.” Garan vividly conveys what it was like learning to work with a diverse group of people in an environment only a handful of human beings have ever known. But more importantly, he describes how he and others are working to apply the orbital perspective here at home, embracing new partnerships and processes to promote peace and combat hunger, thirst, poverty, and environmental destruction. This book is a call to action for each of us to care for the most important space station of all: planet Earth. You don't need to be an astronaut to have the orbital perspective. Garan's message of elevated empathy is an inspiration to all who seek a better world.
Erwin Panofsky’s Perspective as Symbolic Form is one of the great works of modern intellectual history, the legendary text that has dominated all art-historical and philosophical discussions on the topic of perspective in this century. Finally available in English, this unrivaled example of Panofsky’s early method places him within broader developments in theories of knowledge and cultural change. Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of “archaeology” of Western representation that far surpasses the usual scope of art historical studies. Perspective in Panofsky’s hands becomes a central component of a Western “will to form,” the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world. Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.
This book takes into account the dramatic changes associated with the collapse of the Soviet Union, the end of the Cold War, and significant developments in the semi-periphery and periphery. It addresses some of the issues that have come to prominence in the world-system literature since 1989.