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The expression “North of the North” refers both to an objective, geographical reality – the territories situated at the highest latitudes on our planet – and to a subjective, mental construction which came into being many centuries ago and has been developed, modified and differentiated ever since. The chapters in the present volume examine various aspects of that concept, analysing texts and works of art from a range of regions and periods. La notion de « Nord du Nord » renvoie tout autant à la réalité géographique objective que sont les territoires des latitudes les plus élevées de notre planète qu’à une construction mentale subjective qui s’est constituée, développée et modifiée au cours du temps. Les contributions du présent volume se proposent d’en explorer les multiples facettes en recourant à des textes et œuvres d’art d’époques et de provenances diverses. Der Begriff „Norden des Nordens“ verweist sowohl auf eine objektive geographische Wirklichkeit, nämlich die in den höchsten Breitengraden unseres Planeten gelegenen Territorien, als auch auf eine subjektive mentale Konstruktion, die im Laufe der Zeiten entstanden ist, sich fortentwickelt und ausdifferenziert hat. Die im vorliegenden Band enthaltenen Beiträge erforschen die vielfältigen Facetten dieses Begriffs anhand von Texten und Kunstwerken aus verschiedenen Regionen und Epochen.
This richly illustrated anthology about film and photography between 1919-1939 offers a range of new perspectives on European lens media cultures.0It is a collection of 18 original essays by prominent scholars and experts presenting hitherto unseen material, original case-studies and critical reflections of concepts such as ?the new vision?, ?das Unheimliche? as well as imagery ranging from aerial views to microphotography, from geopolitical mappings to race biological typologies, from satirical and surrealist montage to didactic films, and from cinema screenings of feature films, newsreels, and documentaries to personal portraits and amateur imagery. Thus, the0book probes the entangled practices of film and photography through the flows of aesthetics, techniques, ideas, and individuals in this formative era.00Exhibition: Hasselblad Center, Gothenburg, Sweden (2021).
National Museums is the first book to explore the national museum as a cultural institution in a range of contrasting national contexts. Composed of new studies of countries that rarely make a showing in the English-language studies of museums, this book reveals how these national museums have been used to create a sense of national self, place the nation in the arts, deal with the consequences of political change, remake difficult pasts, and confront those issues of nationalism, ethnicity and multiculturalism which have come to the fore in national politics in recent decades. National Museums combines research from both leading and new researchers in the fields of history, museum studies, cultural studies, sociology, history of art, media studies, science and technology studies, and anthropology. It is an interrogation of the origins, purpose, organisation, politics, narratives and philosophies of national museums.
CHOICE Outstanding Academic Title for 2020 More and more people are noticing links between urban geography and the spaces within the layout of panels on the comics page. Benjamin Fraser explores the representation of the city in a range of comics from across the globe. Comics address the city as an idea, a historical fact, a social construction, a material-built environment, a shared space forged from the collective imagination, or as a social arena navigated according to personal desire. Accordingly, Fraser brings insights from urban theory to bear on specific comics. The works selected comprise a variety of international, alternative, and independent small-press comics artists, from engravings and early comics to single-panel work, graphic novels, manga, and trading cards, by artists such as Will Eisner, Tsutomu Nihei, Hariton Pushwagner, Julie Doucet, Frans Masereel, and Chris Ware. In the first monograph on this subject, Fraser touches on many themes of modern urban life: activism, alienation, consumerism, flânerie, gentrification, the mystery story, science fiction, sexual orientation, and working-class labor. He leads readers to images of such cities as Barcelona, Buenos Aires, London, Lyon, Madrid, Montevideo, Montreal, New York, Oslo, Paris, São Paolo, and Tokyo. Through close readings, each chapter introduces readers to specific comics artists and works and investigates a range of topics related to the medium’s spatial form, stylistic variation, and cultural prominence. Mainly, Fraser mixes interest in urbanism and architecture with the creative strategies that comics artists employ to bring their urban images to life.
Few concepts are as central to understanding the modern world as borders, and the now-thriving field of border studies has already produced a substantial literature analyzing their legal, ideological, geographical, and historical aspects. Such studies have hardly exhausted the subject’s conceptual fertility, however, as this pioneering collection on the aesthetics of borders demonstrates. Organized around six key ideas—ecology, imaginary, in/visibility, palimpsest, sovereignty and waiting—the interlocking essays collected here provide theoretical starting points for an aesthetic understanding of borders, developed in detail through interdisciplinary analyses of literature, audio-visual borderscapes, historical and contemporary ecologies, political culture, and migration.
"Erika Gottlieb explores a selection of about thirty works in the dystopian genre from East and Central Europe between 1920 and 1991 in the USSR and between 1948 and 1989 in Poland, Hungary, and Czechoslovakia.
n medieval and early modern Europe, the use of charms was a living practice in all strata of society. The essays in this latest CEU Press publication explore the rich textual tradition of archives, monasteries, and literary sources. The author also discusses texts amassed in folklore archives and ones that are still accessible through field work in many rural areas of Europe.
A huge bestseller in Germany for over a year, My Father’s Country offers extraordinarily moving and riveting insight into the experience of being German in the last century. On August 26, 1944, Hans Georg Klamroth, officer in the German army and member of the SS, was executed for high treason for his participation in the July 1944 plot to assassinate Hitler. My Father’s Country is the extraordinary work of Klamroth’s daughter, Wibke, born only six years before her father’s death. Decades later, Bruhns was watching a TV documentary about the events of July 1944 when images of her father in the court room suddenly appeared on screen. “I stare at this man with the empty face. I don’t know him. But I can see myself in him — his eyes are my eyes; I know I resemble him. I know I wouldn’t be here without him. And what do I know about him? Nothing at all.” Based on an extensive collection of family letters, private diaries, photographs and even menus, My Father’s Country traces Wibke Bruhns’ father’s, and more widely, her well-to-do merchant family’s, life in the Germany of the late nineteenth and early twentieth centuries. With it, Bruhns not only brings to life the nuances of this world — its culture and its assumptions, politics and beliefs — but also comes to know, finally, the mysterious father she barely remembers.