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Dynamic Tectonics and Karst
The karstic caves are favorable sites for tectonic events detecting, representing a conservative medium of three-dimensional framework where the tectonic deformations are well preserved. They also provide an environment conducive to dating and determining the geometrical parameters of past seismotectonic events. During the last three decades the study of dynamic tectonics and recent geodynamics in karst terrains has been subject of numerous publications, but it has not been systematically approached in a comprehensive monograph. This book collects the current state of knowledge on the relationship between karst and dynamic tectonics and presents a new methodology to its study. It puts forwar...
Pragmatics of Space
This handbook provides a comprehensive overview of spatial configurations of language use and of language use in space. It consists of four parts. The first part covers the various practices of describing space through language, including spatial references in spoken interaction or in written texts, the description of motion events as well as the creation of imaginative spaces in storytelling. The second part surveys aspects of the spatial organization of face-to-face communication including not only spatial arrangements of small groups in interaction but also the spatial dimension of sign language and gestures. The third part is devoted to the communicative resources of constructed spaces and the ways in which these facilitate and shape communication. Part four, finally, is devoted to pragmatics across space and cultures, i.e. the ways in which language use differs across language varieties, languages and cultures.
Ideer om menneskets oprindelse
Gud skabte verden omkring 4000 fvt. og formede mennesket i sit billede. Det var bibeleksperter enige om indtil oplysningstiden, hvor fund af fossiler, knogler og redskaber gjorde det stadigt mere vanskeligt at fastholde det kristne verdensbillede. Men det var forst i midten af 1800-tallet, at videnskaben satte Gud helt udenfor og gjorde aben til menneskets forfader. I Ideer om menneskets oprindelse diskuterer Ole Hoiris, docent emeritus ved Afdeling for Antropologi, Aarhus Universitet, de religiose og videnskabelige fortAellinger, der har givet det at vAere menneske mening. Siden tidernes morgen har vi spurgt til vores begyndelse og udvikling, og verdens mange religioner har givet forskellige svar, ligesom videnskaberne de seneste ca. 150 ar har budt ind med nye sandheder. Men alle svarene spiller til enhver tid tAet sammen med samfundets herskende verdensbillede, og ogsa videnskaben har skabt - og skaber - myter.
Serge Spitzer
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La caverne originelle
Parmi les nombreuses hypothèses proposées pour expliquer l'" art des cavernes ", beaucoup ont été définitivement réfutées ; d'autres ne sont pas totalement à rejeter, même si elles ne sauraient tenir lieu d'élucidation globale. Face à ces impasses, d'aucuns considèrent qu'il est plus sage de cesser de chercher. Le pari de ce livre est plutôt de chercher ailleurs et autrement. À partir de la plus riche base de données élaborée à ce jour, recensant 452 cavités dont l'ornementation est attribuable au Paléolithique, et à l'issue d'un examen serré des analyses qui se sont succédé depuis plus d'un siècle, Jean-Loïc Le Quellec développe ici une approche entièrement nouve...
Serge Poliakoff. Catalogue Raisonné. Vol
French painter born in Moscow (1900-1969). He left Russia in 1917 and arrived in Paris six years later. He studied at the Académie de la Grande Chaumière in Paris, then in London before meeting Delaunay and Kandinsky. He painted his first non-figurative works in 1938, yet only after the War did he truly mark out his own artistic domain. By progessively working his overlaid colors and irregular, imbricated forms, at once distinct and resonant with their own vibrations, he invested the canvas with the autonomy that operates out of strictly plastic necessity. He was quickly recognized as a major figure in the Abstract art to come out of the School of Paris, having staked out a very unique style that kept its distance from the overly rigid and cold precision of strict geometry, as much as it did from an overly gestural improvisation.
