Dr. Mario-Max Prince Schaumburg-Lippe is a world reknown fashion-designer, media-personality and media law expert. He is the son of His Highness Prince Waldemar zu Schaumburg-Lippe-Nachod, the Cousin of Queen Margrethe II. of Denmark, and member of the line of succession to the British Throne.
During the 17th and 18th century musicians' mobilities and migrations are essential for the European music history and the cultural exchange of music. Adopting viewpoints that reflect different methodological approaches and diversified research cultures, the book presents studies on central scopes, strategies and artistic outcomes of mobile and migratory musicians as well as on the transfer of music. By looking at elite and non-elite musicians and their everyday mobilities to major and minor centers of music production and practice, new biographical patterns and new stylistic paradigms in the European East, West and South emerge.
Regarded as the second most important book to come out of Nazi Germany, Alfred Rosenberg's Der Mythus des zwanzigsten Jahrhunderts is a philosophical and political map which outlines the ideological background to the Nazi Party and maps out how that party viewed society, other races, social ordering, religion, art, aesthetics and the structure of the state. The "Mythus" to which Rosenberg (who was also editor of the Nazi Party newspaper) refers was the concept of blood, which, according to the preface, "unchains the racial world-revolution." Rosenberg's no-hold barred depiction of the history of Christianity earned it the accusation that it was anti-Christian, and that unjustified controversy overshadowed the most interesting sections of the book which deal with the world racial situation and the demand for racially homogenous states as the only method to preserve individual world cultures. Rosenberg was hanged at Nuremberg on charges of "waging wars of aggression" even though he had never served in the military, and it is likely that he was hanged purely because of this book. Contents Preface Book One: The Conflict of Values Chapter I. Race and Race Soul Chapter II. Love and Honour Chapter III. Mysticism and Action Book Two: Nature of Germanic Art Chapter I. Racial Aesthetics Chapter II. Will And Instinct Chapter III. Personality And Style Chapter IV. The Aesthetic Will Book Three: The Coming Reich Chapter I. Myth And Type Chapter II. The State And The Sexes Chapter III. Folk And State Chapter IV. Nordic German Law Chapter V. Church And School Chapter VI. A New System Of State Chapter VII. The Essential Unit
A new look at the work of Mario Giacomelli, one of Italy’s foremost photographers of the twentieth century. Mario Giacomelli (1925–2000) was born into poverty and lived his entire life in Senigallia, a seaside town along the Adriatic coast in Italy’s Marche region. He purchased his first camera in 1953 and quickly gained recognition for the raw expressiveness of his images. His preference for grainy, high-contrast film and paper produced bold, geometric compositions with glowing whites and deep blacks. Giacomelli most frequently focused his camera on the people, landscapes, and seascapes of the Marche, and he often spent several years expanding and reinterpreting a single body of work or repurposing an image made for one series for inclusion in another. By applying titles derived from poetry and literature to his photographs, he transformed ordinary subjects into meditations on time, memory, and existence. Spanning the photographer’s earliest pictures to those made in the final years of his life, this publication celebrates the J. Paul Getty Museum’s extensive Giacomelli holdings, formed in large part through a significant gift from Daniel Greenberg and Susan Steinhauser.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
‘KUMBA AFRICA’, is a compilation of African Short Stories written as fiction by Sampson Ejike Odum, nostalgically taking our memory back several thousands of years ago in Africa, reminding us about our past heritage. It digs deep into the traditional life style of the Africans of old, their beliefs, their leadership, their courage, their culture, their wars, their defeat and their victories long before the emergence of the white man on the soil of Africa. As a talented writer of rich resource and superior creativity, armed with in-depth knowledge of different cultures and traditions in Africa, the Author throws light on the rich cultural heritage of the people of Africa when civilization was yet unknown to the people. The book reminds the readers that the Africans of old kept their pride and still enjoyed their own lives. They celebrated victories when wars were won, enjoyed their New yam festivals and villages engaged themselves in seasonal wrestling contest etc; Early morning during harmattan season, they gathered firewood and made fire inside their small huts to hit up their bodies from the chilling cold of the harmattan. That was the Africa of old we will always remember. In Africa today, the story have changed. The people now enjoy civilized cultures made possible by the influence of the white man through his scientific and technological process. Yet there are some uncivilized places in Africa whose people haven’t tested or felt the impact of civilization. These people still maintain their ancient traditions and culture. In everything, we believe that days when people paraded barefooted in Africa to the swarmp to tap palm wine and fetch firewood from there farms are almost fading away. The huts are now gradually been replaced with houses built of blocks and beautiful roofs. Thanks to modern civilization. Donkeys and camels are no longer used for carrying heavy loads for merchants. They are now been replaced by heavy trucks and lorries. African traditional methods of healing are now been substituted by hospitals. In all these, I will always love and remember Africa, the home of my birth and must respect her cultures and traditions as an AFRICAN AUTHOR.
The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.