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With the fall of the Berlin Wall in November 1989, four decades of separation seemed to have been brought to an end. In the literary arena as in many others, this seemed to be the surprising but ultimately logical end to the situation in which, after the extreme separation of the two Germanies' literatures during most of the period up to 1980, an increasing closeness could be observed during the 1980s, as relations between the two German states normalized. With the opening up of the East in the Autumn of 1989 claims were being made, on the one hand, that German literature had never, in fact, been divided, while others were proclaiming the end of East and West German literatures as they had existed, and the beginning of a new era. This volume examines these claims and other aspects of literary life in the two Germanies since 1945, with the hindsight born of unification in 1990, as well as looking at certain aspects of developments since the fall of the Wall, when, as on East German put it in 1996, rapprochement came to an end.
It has been thirteen years since soldiers of the Chinese People's Liberation Army (PLA) raced into the center of Beijing, ordered to recover "at any cost" the city's most important landmark, Tiananmen Square, from student demonstrators. The U.S. and other Western countries recoiled in disgust after the horrific incident, and the relationship between the U.S. and China went from amity and strategic cooperation to hostility, distrust, and misunderstanding. Time has healed many of the wounds from those terrible days of June 1989, and bilateral strains have been eased in light of the countries' joint opposition to international terrorism. Yet China and U.S. remain locked in opposition, as strategic thinkers and military planners on both sides plot future conflict scenarios with the other side as principal enemy. Polls indicate that most Americans consider China an "unfriendly" country, and anti-American sentiment is growing in China. According to Robert Suettinger, the calamity in Tiananmen Square marked a critical turning point in U.S.-China affairs. In Beyond Tiananmen, Suettinger traces the turbulent bilateral relationship since that time, with a particular focus on the internal political factors that shaped it. Through a series of candid anecdotes and observations, Suettinger sheds light on the complex and confused decision-making process that affected relations between the U.S. and China between 1989 and the end of the Clinton presidency in 2000. By illuminating the way domestic political ideas, beliefs, and prejudices affect foreign policymaking, Suettinger reveals policy decisions as outcomes of complex processes, rather than the results of grand strategic trends. He also refutes the view that strategic confrontation between the superpowers is inevitable. Suettinger sees considerable opportunity for cooperation and improvement in what is likely to be the single most important bilateral relationship of the twenty-first century. He cautions, however
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ
"Beyond the Velvet Underground follows the careers of the VU stars in the years that followed the band's demise ..."--Cover.
Felski presents a critical account of current American and European feminist literary theory, and analyzes contemporary fiction by women to show that no theorist can identify a specifically "female" or "feminine" kind of writing without reference to what gender means at a given historical moment. She argues that the idea of a feminist aesthetic is a non-issue needlessly pursued by feminists. She calls for a consideration of the social and cultural context in which these texts were produced and received, and demonstrates her method of an interdisciplinary approach to the analysis of literature which can integrate literary and social theory. ISBN 0-674-06894-7: $25.00; ISBN 0-674-06895-5 (pbk.): $9.95.
Beyond Heaven: Chicago House Party Flyers from 1983-1989 catalogs a collection of flyers and other house music related ephemera from the years 1983 to 1989, courtesy of Mario "Liv It Up" Luna, a DJ living in the Pilsen neighborhood of Chicago during this time. These flyers, also called pluggers, were used for promotional purposes. They would be placed in record stores and passed out at schools and on the street to help get the word out about upcoming house music events. Although by no means encyclopedic, this collection documents a variety of figures from Chicago's emerging house scene: first generation "kings of house" alongside the WBMX Hot Mix 5 and other lesser-known DJs at a variety of venues. Also included in the mix are promoters, record stores, labels, and an assortment of party crews and dance groups who contributed to the growth and atmosphere of house music in Chicago. This book offers a taste of what many consider to be the best times of their lives, and for others acts as a gateway to one of greatest eras in the history of Chicago music.