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This volume contains 17 studies on historical Romance linguistics within a variety of current theoretical frameworks; it includes studies on phonology, morphology and syntax, focusing solely or comparatively on all five 'major' Romance languages: French, Italian, Portuguese, Romanian and Spanish. An introduction by the eminent Romance Linguist Jürgen Klausenburger addresses the fit of these studies in the overall development of the field of historical Romance linguistics since the 19th century. The studies in this volume demonstrate an organic link between Malkiel's (1961) 'classic' definition of Romance linguistics and the field of Romance linguistics today, because just as scholars of the field in the 19th century successfully applied the dominant paradigm of (historical) linguistics of their time, Neogrammarian theory, so do the authors contained in the present volume avail themselves of current linguistic advances to achieve equally significant results.
Le micro-ondes et les portions individuelles, le péché de gourmandise, l’anorexie et l’obésité épidémiques, les McDo’s, le slow-food, le fooding, le traiteur à domicile, la gastronomie moléculaire : autant d’objets, de faits et de pratiques sociales qui révèlent les traits propres à la société contemporaine. Après ses travaux sur les villes, François Ascher poursuit son étude de la société « hypermoderne » en s’appuyant cette fois sur l’évolution des pratiques alimentaires. Il en tire des hypothèses ambitieuses et stimulantes sur le développement du modèle du restaurant, y compris à la maison, sur les relations entre sociabilité et pratiques alimentaires, sur l’émergence d’un nouveau groupe social, la « classe créative », pour laquelle la nourriture devient une question d’esthétique quotidienne, etc. Une véritable radiographie de la vie quotidienne d’aujourd’hui ; une réflexion originale sur la liberté des individus telle qu’elle s’exerce chaque jour. François Ascher est professeur à l’université Paris-VIII et à l’Université de Genève. Il est l’auteur de Métapolis.
What I Found Out About Her: Stories of Dreaming American, winner of the 2014 Richard Sullivan Prize in Short Fiction, reaffirms Peter LaSalle's reputation as one of the most startlingly original writers working in the short fiction genre today. In this collection of eleven stories, LaSalle explores how everyday life for many—an FBI agent, a study-abroad student, a drug dealer's chic girlfriend, a trio of Broadway playwrights, among others—can often take on something much larger than that, almost the texture of a haunting dream. Marked by stylistic daring and a rare lyricism in language, this is intense, thoroughly moving fiction that probes the contemporary American psyche, portraying it in all its frequently painful sadness and also its brave and unflagging hope.
Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wid...
The religious association of Jehovah’s Witnesses has existed for about 150 years in Europe. How Jehovah’s Witnesses found their way in these countries has depended upon the way this missionary association was treated by the majority of the non-Witness population, the government and established churches. In this respect, the history of Jehovah’s Witnesses in Europe is also a history of the social constitution of these countries and their willingness to accept and integrate religious minorities. Jehovah’s Witnesses faced suppression and persecution not only in dictatorships, but also in some democratic states. In other countries, however, they developed in relative freedom. How the different situations in the various national societies affected the religious association and what challenges Jehovah’s Witnesses had to overcome – and still do in part even until our day – is the theme of this history volume.
This collection of selected writings of Ms. Hilton includes a complete facsimile of her 1981 book Dance of Court & Theater (no longer available) as well as two significant articles, and a notated triple-meter danse � deux by LouisP�cour. Book One (the facsimile) provides in-depth analysis of primary sources on dance of the baroque period.The main body of the text is devoted to mastery of the Beauchamp-Feuillet notation system,which includes the relationships of steps to music in such dance types as the menuet,gavotte, bourr�e, sarabande, passacaille, loure, gigue, and entr�e grave. Instruction is also given on style, bows and courtesies, the use of the hat, and the ballroom menuet ordinaire as given by Pierre Rameau.Book Two adds theslow Seventeenth-Century French Courante; A survey of the 56 dances extant to music by J.B. Lully with their airs and some of the more virtuosic, theatrical step-units in notation; Louis P�cour's ballroom dance Aimable Vainqueur (1701 in six pages of dance notation with a five-part score of Andr� Campra's music from Hesione (1700)and an updated bibliography.
Surrealism in China initially gained a foothold in Shanghai’s former French concession during the early 1930s, disseminated by returning Chinese students who had directly encountered the movement in Paris and Tokyo. Shanghai surrealism adopted a dialectical form, resonating with the modus operandi of the Parisian movement as well as China’s traditional belief system of Daoism. Reconciling the thought of Freud and Marx, Surrealism subsumed the multiple contradictions that divided Republican Shanghai, East and West, colonial and cosmopolitan, ancient and modern, navigating the porous boundaries that separate dream and reality. Shanghai surrealists were not rigid followers of their Parisian...