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Carl Theodor Dreyer's Gertrud
If there is one film in the canon of Carl Theodor Dreyer that can be said to be, as Jacques Lacan might put it, his most �painfully enjoyable,� it is Gertrud. The film's Paris premier in 1964 was covered by the Danish press as a national scandal; it was lambasted on its release for its lugubrious pace, wooden acting, and old-fashioned, stuffy milieu. Only later, when a younger generation of critics came to its defense, did the method in what appeared to be Dreyer's madness begin to become apparent. To make vivid just what was at stake for Dreyer, and still for us, in his final work, James Schamus focuses on a single moment in the film. He follows a trail of references and allusions back ...
Kunst und Wissenschaft als parallele Erkenntnisformen
Die Autorin reflektiert Bedeutungen der Digitalisierung aus gesellschaftskritischer Perspektive. In der Analyse dieses epochalen Wandels stellt sie philosophisch-theoretische und künstlerische Ansätze der Reflexion gleichberechtigt nebeneinander und lotet Kunst und Wissenschaft als parallele Erkenntnisverfahren in ihren je eigenen Qualitäten aus.
Berlin: Story Of A Battle
At the end of World War II, Andrew Tully was one of three Americans allowed to enter Berlin as a guest of a Russian artillery battalion commander. He spent the next seventeen years gathering eyewitness accounts, collecting war diaries and letters, and reading over one hundred books in order to write this gripping and comprehensive account about the fall of Berlin. Originally published in the U.S. in 1963, Berlin: Story of a Battle has also been translated into French, Dutch, Italian and Japanese.
Letters from a German Family
Correspondence of the members of the Bornemann family in Germany to various other family members in the United States and Europe.
Who's who in Switzerland Including the Principality of Liechtenstein
Issues for 1950/51- include "Index of Organizations, associations, and institutions."
