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Ecstatic Worlds
When media translate the world to the world: twentieth-century utopian projects including Edward Steichen's “Family of Man,” Jacques Cousteau's underwater films, and Buckminster Fuller's geoscope. janine
Environmental Requirements for Industrial Permitting Vol 1 - Approaches and Instruments -- Vol 2 - OECD Workshop on the Use of Best Available Technologies and Environmental Quality Objectives, Paris, 9-11 May 1996 -- Vol 3 - Regulatory Approaches in OECD Countries
This book examines the main features of laws, regulations and policies governing the delivery of industrial permits in OECD countries.
Techno-economic Aspects of Measures to Reduce Water Pollution in Small and Medium Sized Enterprises on the Basis of an Industry and Market Driven Approach
Recoge: 1. Proyect description - 2. Instruments for Controlling SME discharges - 3. International Fora - 4. Sector Case studies.
The Brush and the Pen
French symbolist artist Odilon Redon (1840–1916) seemed to thrive at the intersection of literature and art. Known as “the painter-writer,” he drew on the works of Poe, Baudelaire, Flaubert, and Mallarmé for his subject matter. And yet he concluded that visual art has nothing to do with literature. Examining this apparent contradiction, The Brush and the Pen transforms the way we understand Redon’s career and brings to life the interaction between writers and artists in fin-de-siècle Paris. Dario Gamboni tracks Redon’s evolution from collaboration with the writers of symbolism and decadence to a defense of the autonomy of the visual arts. He argues that Redon’s conversion was the symptom of a mounting crisis in the relationship between artists and writers, provoked at the turn of the century by the growing power of art criticism that foreshadowed the modernist separation of the arts into intractable fields. In addition to being a distinguished study of this provocative artist, The Brush and the Pen offers a critical reappraisal of the interaction of art, writing, criticism, and government institutions in late nineteenth-century France.
Why Sámi Sing
Why Sámi Sing is an anthropological inquiry into a singing practice found among the Indigenous Sámi people, living in the northernmost part of Europe. It inquires how the performance of melodies, with or without lyrics, may be a way of altering perception, relating to human and non-human presences, or engaging with the past. According to its practitioners, the Sámi "yoik" is more than a musical repertoire made up by humans: it is a vocal power received from the environment, one that reveals its possibilities with parsimony through practice and experience. Following the propensity of Sámi singers to take melodies seriously and experiment with them, this book establishes a conversation between Indigenous and Western epistemologies and introduces the "yoik" as a way of knowing in its own right, with both convergences and divergences vis-à-vis academic ways of knowing. It will be of particular interest to scholars of anthropology, ethnomusicology, and Indigenous studies.
Testi brevi di accompagnamento. Linguistica, semiotica, traduzione
La brevitas non è certo una invenzione recente. Incisioni e graffiti, fin da tempi remoti, rappresentano forme espressive concise, lapidarie, affidate a supporti che, per loro natura, non lasciano spazio a messaggi di ampio respiro: pietra, muro, manufatti. Tuttavia, la brevità non coincide necessariamente con la (poca) lunghezza: essa ha, al contrario, una propria retorica, stilistica e poetica, poiché riguarda le caratteristiche di una scrittura che tende a una concisione formale ottenuta attraverso specifici fattori di condensazione, sintesi ed economia. Di conseguenza, a dispetto della – o grazie alla – concisione, le forme brevi rappresentano unità di informazione ad alto contenuto. L’estetica del corto è insomma caratterizzata da una ricercata densità semantica, per cui la brevità “non è un ripiego, bensì un punto di forza” (A. Abruzzese) grazie alla sua intensità comunicativa. I contributi del libro prendono in considerazione la brevitas nell’interazione tra modi semiotici differenti (linguaggio, immagini, simboli, oggetti, voce) in ambiti di varia natura: espografica, giornalismo, pubblicità, cinema, traduzione, interpretazione.
