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Proceedings of the 15th International Workshop on Beryllium Technology (BeWS-15) September, 14-15, 2022, Karlsruhe, Germany (KIT Scientific Reports ; 7764)
The 15th International Workshop on Beryllium Technology (BeWS-15) was held as a joint event combining BeWS-15 and industrial forum BeYOND-IX on September 14-15, 2022 in Karlsruhe, Germany with great success as a hybrid event. The workshop was organized by the Karlsruhe Institute of Technology. Participants came from Germany, the US, the UK, Kazakhstan, Latvia, Czech Republic, Japan, Sweden, France and China, totaling 55 persons, which was not expected immediately after the global pandemic.
Rival Power
A nuanced and comprehensive study of the political dynamics between Russia and key countries in Southeast Europe Is Russia threatening to disrupt more than two decades’ of E.U. and U.S. efforts to promote stability in post-communist Southeast Europe? Politicians and commentators in the West say, “yes.” With rising global anxiety over Russia’s political policies and objectives, Dimitar Bechev provides the only in-depth look at this volatile region. Deftly unpacking the nature and extent of Russian influence in the Balkans, Greece, and Turkey, Bechev argues that both sides are driven by pragmatism and opportunism rather than historical loyalties. Russia is seeking to assert its role in Europe’s security architecture, establish alternative routes for its gas exports—including the contested Southern Gas Corridor—and score points against the West. Yet, leaders in these areas are allowing Russia to reinsert itself to serve their own goals. This urgently needed guide analyzes the responses of regional NATO members, particularly regarding the annexation of Crimea and the Putin-Erdogan rift over Syria.
And Then Came Dance
Presenting for the first time Akim Volynsky's (1861-1926) pre-balletic writings on Leonardo da Vinci, Fyodor Dostoevsky, Otto Weininger, and on such illustrious personalities as Zinaida Gippius, Ida Rubinstein, and Lou Andreas-Salome, And Then Came Dance provides new insight into the origins of Volynsky's life-altering journey to become Russia's foremost ballet critic. A man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation that crossed over into the personal and libidinal, Volynsky looks ahead to another Petersburg-bred high priest of classical dance, George Balanchine. With an undeniable proclivity toward ballet's female component, Volynsky's dance writings, illuminated by examples of his earlier gendered criticism, invite speculation on how truly ground-breaking and forward-looking this critic is.
