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Books on the topic 'Rainer W'

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Published: 4 June 2021

Last updated: 15 February 2022

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1

Sally, Machlis, ed. Discovering Mount Rainier. Corvallis, OR: Dog-Eared Publications, 1992.

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2

Stach, Alfred. Analiza struktury przestrzennej i czasoprzestrzennej maksymalnych opadów dobowych w Polsce w latach 1956-1980. Poznań: Wydawn. Naukow UAM, 2009.

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3

Wrona, Barbara. Meteorologiczne i morfologiczne uwarunkowania ekstremalnych opadów atmosferycznych w dorzeczu górnej i środkowej Odry. Warszawa: Instytut Meteorologii i Gospodarki Wodnej, 2000.

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4

The view from the tower: Origins of an antimodernist image. Princeton, N.J: Princeton University Press, 1998.

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5

Office, General Accounting. Testimony: Views on DOE's clean coal technology program statement of John W. Sprague, ... before the Subcommittee on Energy and Power, Committee on Energy and Commerce, House of Representatives. Washington, D.C: U.S. General Accounting Office, 1988.

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6

Rainer Werner Fassbinder / hrsg. Peter W. Jansen. Frankfurt: Fischer Taschenbuch Verlag, 1992.

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7

1957-, Zybura Marek, ed. Do polski przyjadę--: Rainer Maria Rilke w oczach krytyki polskiej. Wrocław: Wirydarz, 1995.

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8

Prima. Tomb Raider III W/Cover Sticker for Toys. Prima Publishing, 1998.

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9

Ziolkowski, Theodore. View from the Tower: Origins of an Antimodernist Image. Princeton University Press, 2016.

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10

Theodore, Ziolkowski Comp. View from the Tower: Origins of an Antimodernist Image. Princeton University Press, 2014.

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11

Ziolkowski, Theodore. View from the Tower: Origins of an Antimodernist Image. Princeton University Press, 2014.

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12

Ziolkowski, Theodore. View from the Tower: Origins of an Antimodernist Image. Princeton University Press, 1998.

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13

Bontemps, Arna. Soldiers. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0010.

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This chapter examines the experiences of Illinois Negro soldiers in the Union army that fought in the Civil War. According to George W. Williams, Illinois sent 1,811 soldiers during the Civil War, but Champaign's Union and Gazette states that “of the colored men enlisted in the war, Illinois raised one thousand one hundred and eleven.” The correct number was perhaps an average between the two figures; downstate Quincy alone is said to have raised 903 of these men. Congress was appealed to decide whether or not Negroes were to fight in the conflict; after long months of pro and con debate an act was passed requiring that Negroes be paid ten dollars per month, with three dollars deducted for clothing while white soldiers received thirteen dollars per month in addition to their uniforms. This chapter considers the role of H. O. Wagoner in leading the Negro personnel of Civil War forces in Illinois, as well as questions regarding the Negro's place in military affairs.

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14

Shuster, Martin. Philosophy and Genocide. Edited by Donald Bloxham and A. Dirk Moses. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199232116.013.0012.

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This article poses genocide as a philosophical problem, reviewing some of the ways philosophers have addressed genocide and then, by using the work of Max Horkheimer and Theodor W. Adorno, suggests an alternative way in which they can proceed further. First, it raises the question as to why philosophers have been prone to not discussing genocide. Answering this question goes a long way in helping to understand what philosophy can and cannot do in analysing genocide. Genocide re-enters the philosophical frame as a distinctly modern, but nonetheless ultimately human possibility — one that has a particular genealogy and one that can be explored via its underpinnings in a complex network of philosophical commitments and positions.

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15

Burford, Mark. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.003.0001.

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The book opens by unpacking Mahalia Jackson’s January 20, 1952, appearance on the nationally televised CBS variety show Toast of the Town, hosted by Ed Sullivan. Jackson’s performance of the W. Herbert Brewster gospel song “These Are They” raises a host of issues that situates her and contemporary performers within the black gospel field. The Sullivan appearance carried considerable significance for African Americans, introducing both Jackson and black gospel singing to a national television audience. The latter half of the chapter assesses the attribution of exceptionalism to black vernacular culture and the literature on Jackson and on gospel music, and closes by delineating a field analysis approach that helps identify forms of prestige that gave meaning to the practice of gospel singing after World War II.

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16

Weatherson, Brian. Analytic–Synthetic and A Priori–A Posteriori History. Edited by Herman Cappelen, Tamar Szabó Gendler, and John Hawthorne. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199668779.013.24.

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This article focuses on the distinction between analytic truths and synthetic truths (i.e. every truth that isn’t analytic), and between a priori truths and a posteriori truths (i.e. every truth that isn’t a priori) in philosophy, beginning with a brief historical survey of work on the two distinctions, their relationship to each other, and to the necessary/contingent distinction. Four important stops in the history are considered: two involving Kant and W. V. O. Quine, and two relating to logical positivism and semantic externalism. The article then examines questions that have been raised about the analytic–synthetic and a priori–a posteriori distinctions, such as whether all distinctively philosophical truths fall on one side of the line and whether the distinction is relevant to philosophy. It also discusses the argument that there is a lot more a priori knowledge than we ever thought, and concludes by describing epistemological accounts of analyticity.

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17

Schäfer, Andreas, and David Meiering, eds. (Ent-)Politisierung? Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748904076.

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Contradictory trends of depoliticisation and (re-)politicisation seem to characterise current democratic society. Protest movements and populism polarise opinions on both the streets and social media, while anonymous algorithms or scientific expertise threaten to technocratise political decision-making. At the same time, these phenomena raise the question of democratic theoretical standards of evaluation. This special volume provides a conceptual framework for the analysis and interpretation of these processes and relates previously unconnected fields of research. Theoretical perspectives and empirical findings thus form a debate on the understanding as well as the manifestations and dynamics of politics in the 21st century. With contributions by Priska Daphi, Beth Gharrity Gardner, Anna Geis, Samuel Greef, Simon Hegelich, Eva Her-schinger, Fabienne Marco, David Meiering,Michael Neuber, Orestis Papakyriakopoulos, Friedbert W. Rüb, Linda Sauer, Andreas Schäfer, Wolfgang Schroeder, Hanna Schwander, Grit Straßenberger, Jennifer Ten Elsen, Lena Ulbricht and Claudia Wiesner.

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18

Fay, Jennifer. Buster Keaton’s Climate Change. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.003.0002.

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Much of Buster Keaton’s slapstick comedy revolves around his elaborate outdoor sets and the crafty weather design that destroys them. In contrast to D. W. Griffith, who insisted on filming in naturally occurring weather, and the Hollywood norm of fabricating weather in the controlled space of the studio, Keaton opted to simulate weather on location. His elaborately choreographed gags with their storm surges and collapsing buildings required precise control of manufactured rain and wind, along with detailed knowledge of the weather conditions and climatological norms on site. Steamboat Bill, Jr. (1928) is one of many examples of Keaton’s weather design in which characters find themselves victims of elements that are clearly produced by the off-screen director. Keaton’s weather design finds parallels in World War I strategies of creating microclimates of death (using poison gas) as theorized by Peter Sloterdijk.

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19

Johnson, David. Dreaming of Freedom in South Africa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474430210.001.0001.

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Dreaming of Freedom in South Africa examines for the first time the many different texts imagining the future after the end of apartheid. Focused on well-known and obscure literary texts from the 1880s to the 1970s, as well as the many manifestos and programmes setting out visions of the future, this book charts the dreams of freedom of five major traditions of anti-colonial and anti-apartheid resistance: the African National Congress (ANC), the Industrial and Commercial Workers Union (ICU), the Communist Party of South Africa (CPSA), the Non-European Unity Movement (NEUM) and the Pan-Africanist Congress (PAC). The works of a number of South African literary figures are discussed, including Olive Schreiner, S. E. K. Mqhayi, Alan Paton, Karel Schoeman, Jordan Ngubane, Winnifred Holtby, Ethelreda Lewis, Dora Taylor, Livingstone Mqotsi, Peter Abrahams, Richard Rive, Lauretta Ngcobo and Bessie Head. Political thinkers analysed include Nelson Mandela, R. F. A. Hoernlé, Albert Luthuli, Clements Kadalie, A. W. G. Champion, Edward Roux, James La Guma, Alfred Nzula, I. B. Tabata, Ben Kies, Anton Lembede, A. P. Mda and Robert Sobukwe. The theoretical dimensions of the study are orientated in relation to major Marxist critics of utopianism like Marx, Friedrich Engels, Leon Trotsky and Ernst Bloch, as well as to thinkers like Hannah Arendt, Immanuel Wallerstein, James C. Scott and Jay Winter. More than an exercise in historical excavation, Dreaming of Freedom in South Africa raises challenging questions for the post-apartheid present.

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20

Brazil, Kevin. Art, History, and Postwar Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824459.001.0001.

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Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

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21

Moskalenko, Sophia, and Clark McCauley. Radicalization to Terrorism. Oxford University Press, 2020. http://dx.doi.org/10.1093/wentk/9780190862596.001.0001.

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Terrorism and radicalization came to the forefront of news and politics in the US after the unforgettable attacks of September 11th, 2001. When George W. Bush famously asked "Why do they hate us?," the President echoed the confusion, anger and fear felt by millions of Americans, while also creating a politicized discourse that has come to characterize and obscure discussions of both phenomenon in the media. Since then the American public has lived through a number of domestic attacks and threats, and watched international terrorist attacks from afar on television sets and computer screens. The anxiety and misinformation surrounding terrorism and radicalization are perhaps best detected in questions that have continued to recur in the last decade: "Are terrorists crazy?"; "Is there a profile of individuals likely to become terrorists?"; "Is it possible to prevent radicalization to terrorism?" Fortunately, in the two decades since 9/11, a significant body of research has emerged that can help provide definitive answers. As experts in the psychology of radicalization, Sophia Moskalenko and Clark McCauley propose twelve mechanisms that can move individuals, groups, and mass publics from political indifference to sympathy and support for terrorist violence. Radicalization to Terrorism: What Everyone Needs to Know synthesizes original and existing research to answer the questions raised after each new attack, including those committed by radicalized Americans. It offers a rigorously informed overview of the insight that will enable readers to see beyond the relentless new cycle to understand where terrorism comes from and how best to respond to it.

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22

Hazzard, Oli. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822011.003.0001.

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This is an account of John Ashbery’s career in which, as he puts it in ‘Grand Galop’, the ‘minor eras / Take on an importance all out of proportion to the story’.1 The ‘minority’ of any part of any story is, of course, a relational status always open to dispute, but in the available narratives of Ashbery’s life and work his personal and textual engagements with contemporaneous English poets have, up to this point, occupied a certifiably marginal position. This is unsurprising. When compared with the most ambitious, compelling narratives of Ashbery’s place within literary history—portraying him as a late Romantic, a Francophile avant-gardist, or a coterie poet of the New York School, among many other possible identities—concentrating on his English connections might seem a limited perspective from which to view his work. Yet because the idea of ‘minority’ was a central preoccupation for Ashbery throughout his career, it is apt to discover that many of the important, enduring points of interest which occupied his poetry and poetics—the relation of the margin to the centre, the ways in which art represents the historical moment of its composition, the processes by which canons are formed, the methods through which aesthetic ‘strength’ and ‘weakness’ are determined, the connection between national identities and traditions and individual poetic expression—are foregrounded and illuminated when raised within such a ‘minor’ context. The limitation of scope in this study—which attends to Ashbery’s relationships with W. H. Auden, F. T. Prince, Lee Harwood and Mark Ford—allows for a localized, concentrated sample of his writing to be attended to, and obliquely to substantiate or complicate our understanding of more general themes or practices in his oeuvre. Ashbery’s body of work is broad and varied enough to justify its fragmentation into specific sub-categories, which in combination will allow for a larger, more comprehensive and more complex picture of this inexhaustible poet to be presented. This book hopes to make three central contributions to that broader picture: to demonstrate the significance of Anglo-American contexts to Ashbery’s work, to illustrate his importance ...

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23

A Willful Volunteer: Examining Conscience in an Unconscious World. Writers Club Press, 2002.

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