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Handsomely equipped with a comprehensive introductory historical essay, editor's notes and selected bibliography, this distinguished anthology is a model of genre research. These previously untranslated stories, published from 1871 onward, offer reading virtually unknown to most American (and many German) readers. Some authors combine scientific and philosophical issues, like Kurd Lasswitz in his witty tale "To the Absolute Zero of Existence: A Story from 2371, " while others, as in Erik Simon's 1983 title story, pose psychological puzzles involving alien phenomena. Though the earlier stories in particular demand painstaking reading, all of them repay it with rewarding insights into German and Austrian culture and the many possible uses and misuses of science.
The discovery in the 1920s of a huge cache of fossils in the Gobi Desert fuelled a mania for dinosaurs that continues to the present. But the original goal of the expedition was to search for the origins of man. Henry Fairfield Osborn (1857-1935), director of the American Museum of Natural History, stood at the forefront of the debate over human evolution and the expedition aimed to prove his theory of human origins. Osborn rejected the idea of primate ancestry and constructed a non-Darwinian theory that the evolution of man was the long adventurous story of individuals and groups exerting personal will-power and inborn characteristics to achieve both biological and spiritual success. It is an idea that still echoes today. Study of Osborn’s thinking, however, has been obscured by the perception that racism influenced his theories. Brian Regal paints a different and more textured picture in this book - he shows that Osborn's views on race, like his political ideas, were motivated by his science, itself grounded in religious doctrine. His belief in the Central Asian origins of man, his role as an activist for eugenic reform and immigration controls, his support for Nordicism, his place in the 'New' versus 'Old' biology debate, his role in the Christian Fundamentalist controversy, the Scopes Monkey trial, and finally his construction of the 'Dawn Man' hypothesis - all stemmed from his desire to support his human evolution theory, and point the way to salvation. This biography charts Osborn's intellectual development, from its roots in the eclectic Christianity of his mother, through his student days with Arnold Guyot, James McCosh, and T.H. Huxley, to his mature work at the American Museum. It examines his trials and tribulations, friendships and conflicts, and the world in which he lived: all contributed to the construction of his theory. It is the dramatic story of a man holding onto ideas that for him represented the very meaning of life itself.
The book advances the idea that American, Southern, white, planter class authors have appropriated models and modes of masculinity from William Shakespeare. Keener traces the history of this appropriation and its attendant masculinities from authors as early as William Gilmore Simms, through Thomas Nelson Page and Thomas Dixon, to William Faulkner.
Despite his significance, little scholarly attention has been paid to Adams's contributions as an artist or his place in photographic history. This handsome book addresses this gap by looking beyond his reputation as a Sierra Club environmentalist and examining in depth his life as an artist, and the complexities of his creative vision. 80 illustrations.
Comprehensive and cross-referenced, this informative volume is a rich introduction to the world of nature as experienced by ancient peoples around the globe. 51 halftones.
Hollywood Vault is the story of how the business of film libraries emerged and evolved, spanning the silent era to the sale of feature libraries to television. Eric Hoyt argues that film libraries became valuable not because of the introduction of new technologies but because of the emergence and growth of new markets, and suggests that studying the history of film libraries leads to insights about their role in the contemporary digital marketplace. The history begins in the mid-1910s, when the star system and other developments enabled a market for old films that featured current stars. After the transition to films with sound, the reissue market declined but the studios used their libraries for the production of remakes and other derivatives. The turning point in the history of studio libraries occurred during the mid to late 1940s, when changes in American culture and an industry-wide recession convinced the studios to employ their libraries as profit centers through the use of theatrical reissues. In the 1950s, intermediary distributors used the growing market of television to harness libraries aggressively as foundations for cross-media expansion, a trend that continues today. By the late 1960s, the television marketplace and the exploitation of film libraries became so lucrative that they prompted conglomerates to acquire the studios. The first book to discuss film libraries as an important and often underestimated part of Hollywood history, Hollywood Vault presents a fascinating trajectory that incorporates cultural, legal, and industrial history.