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This volume includes all Dewey's writings for 1938 except for Logic: The Theory of Inquiry (Volume 12 of The Later Works), as well as his 1939 Freedom and Culture, Theory of Valuation, and two items from Intelligence in the Modern World. Freedom and Culture presents, as Steven M. Cahn points out, the essence of his philosophical position: a commitment to a free society, critical intelligence, and the education required for their advance.

This volume includes all Dewey's writings for 1938 except for Logic: The Theory of Inquiry (Volume 12 of The Later Works), as well as his 1939 Freedom and Culture, Theory of Valuation, and two items from Intelligence in the Modern World. Freedom and Culture presents, as Steven M. Cahn points out, the essence of his philosophical position: a commitment to a free society, critical intelligence, and the education required for their advance.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Karl Barth's lectures on the first chapter of the Gospel of John, delivered at Muenster in 1925-26 and at Bonn in 1933, came at an important time in his life, when he was turning his attention more fully to dogmatics. Theological interpretation was thus his primary concern, especially the relation between revelation and the witness to revelation, which helped to shape his formulation of the role of the written (and spoken) word vis-a-vis the incarnate Word. The text is divided into three sections - John 1:1-18, 19-34, 35-51, with the largest share of the book devoted to the first section. Each section begins with Barth's own translation, followed by verse-by -verse and phrase-by-phrase commentary on the Greek text. Although Barth's interpretation is decidedly theological, he does take up questions of philology and textual criticism more thoroughly than in his other works. Much has happened in Johannine scholarship since these lectures were first delivered, yet they remain valuable today - 100 years after Barth's birth - both for their insights into the gospel and into Karl Barth.

Strangers in Paradise John Russell Taylor

A dynamic new look at the legendary college that was a major incubator of the arts in midcentury America In 1933, John Rice founded Black Mountain College in North Carolina as an experiment in making artistic experience central to learning. Though it operated for only 24 years, this pioneering school played a significant role in fostering avant-garde art, music, dance, and poetry, and an astonishing number of important artists taught or studied there. Among the instructors were Josef and Anni Albers, John Cage, Merce Cunningham, Buckminster Fuller, Karen Karnes, M. C. Richards, and Willem de Kooning, and students included Ruth Asawa, Robert Rauschenberg, and Cy Twombly.  Leap Before You Look is a singular exploration of this legendary school and of the work of the artists who spent time there. Scholars from a variety of fields contribute original essays about diverse aspects of the College—spanning everything from its farm program to the influence of Bauhaus principles—and about the people and ideas that gave it such a lasting impact. In addition, catalogue entries highlight selected works, including writings, musical compositions, visual arts, and crafts. The book’s fresh approach and rich illustration program convey the atmosphere of creativity and experimentation that was unique to Black Mountain College, and that served as an inspiration to so many. This timely volume will be essential reading for anyone interested in the College and its enduring legacy.

A dynamic new look at the legendary college that was a major incubator of the arts in midcentury America In 1933, John Rice founded Black Mountain College in North Carolina as an experiment in making artistic experience central to learning. Though it operated for only 24 years, this pioneering school played a significant role in fostering avant-garde art, music, dance, and poetry, and an astonishing number of important artists taught or studied there. Among the instructors were Josef and Anni Albers, John Cage, Merce Cunningham, Buckminster Fuller, Karen Karnes, M. C. Richards, and Willem de Kooning, and students included Ruth Asawa, Robert Rauschenberg, and Cy Twombly.  Leap Before You Look is a singular exploration of this legendary school and of the work of the artists who spent time there. Scholars from a variety of fields contribute original essays about diverse aspects of the College—spanning everything from its farm program to the influence of Bauhaus principles—and about the people and ideas that gave it such a lasting impact. In addition, catalogue entries highlight selected works, including writings, musical compositions, visual arts, and crafts. The book’s fresh approach and rich illustration program convey the atmosphere of creativity and experimentation that was unique to Black Mountain College, and that served as an inspiration to so many. This timely volume will be essential reading for anyone interested in the College and its enduring legacy.

“Even now,” wrote Christopher Isherwood in his Berlin Diary of 1933, “I can’t altogether believe that any of this has really happened.” Three years later, W. E. B. DuBois described Germany as “silent, nervous, suppressed; it speaks in whispers.” In contrast, a young John F. Kennedy, in the journal he kept on a German tour in 1937, wrote, “The Germans really are too good—it makes people gang against them for protection.” Drawing on such published and unpublished accounts from writers and public figures visiting Germany, Travels in the Reich creates a chilling composite portrait of the reality of life under Hitler. Written in the moment by writers such as Virginia Woolf, Isak Dinesen, Samuel Beckett, Jean-Paul Sartre, William Shirer, Georges Simenon, and Albert Camus, the essays, letters, and articles gathered here offer fascinating insight into the range of responses to Nazi Germany. While some accounts betray a distressing naivete, overall what is striking is just how clearly many of the travelers understood the true situation—and the terrors to come. Through the eyes of these visitors, Travels in the Reich offers a new perspective on the quotidian—yet so often horrifying—details of German life under Nazism, in accounts as gripping and well-written as a novel, but bearing all the weight of historical witness.

John Fante is a lost gem of American literature and the man who was credited by Charles Bukowski as the inspiration for him to start writing. In a life that spanned 74 years, Fante wrote several great novels, such as Ask the Dust, and numerous screenplays. He died in 1983 from diabetes-related complications.Trapped in a small, poverty-ridden town in 1933, seventeen-year-old Dominic Molise yearns to fulfil his own dreams of becoming an American sports hero. This teenage southpaw aspires to the big leagues, big recognition and big love. He struggles, though, against the reality of his Italian parents, and comes under pressure to go into the family business. Brick-laying is not for Dominic. His father, however, seeks to pre-empt the inevitable road to failure by wanting Dominic to pick up a trowel instead of a pitcher's glove. His mother's response is to pray.At once the story of class and an individual's struggle during hard times in America, 1933 was a Bad Year is a wonderful tale of childhood and its dissipation into adulthood.

A dynamic new look at the legendary college that was a major incubator of the arts in midcentury America In 1933, John Rice founded Black Mountain College in North Carolina as an experiment in making artistic experience central to learning. Though it operated for only 24 years, this pioneering school played a significant role in fostering avant-garde art, music, dance, and poetry, and an astonishing number of important artists taught or studied there. Among the instructors were Josef and Anni Albers, John Cage, Merce Cunningham, Buckminster Fuller, Karen Karnes, M. C. Richards, and Willem de Kooning, and students included Ruth Asawa, Robert Rauschenberg, and Cy Twombly.  Leap Before You Look is a singular exploration of this legendary school and of the work of the artists who spent time there. Scholars from a variety of fields contribute original essays about diverse aspects of the College—spanning everything from its farm program to the influence of Bauhaus principles—and about the people and ideas that gave it such a lasting impact. In addition, catalogue entries highlight selected works, including writings, musical compositions, visual arts, and crafts. The book’s fresh approach and rich illustration program convey the atmosphere of creativity and experimentation that was unique to Black Mountain College, and that served as an inspiration to so many. This timely volume will be essential reading for anyone interested in the College and its enduring legacy.

Arguably the most important popular British composer of the 20th century, John Barry (1933-2011) enjoyed a career that spanned over fifty years, in which time he won five Academy Awards for pictures includingBorn Free, Out of Africa and Dances with Wolves. His reputation was further gilded by his soundtracks for a dozen James Bond films between 1962 and 1987. Barry s career reflects the evolution of post-war British music from big band to rock and roll and the birth of pop. In the cultural foment of Swinging Sixties London he became an iconic figure and an inspiration to countless musicians. Written with Barry s cooperation and including insights from close friends, Eddi Fiegel's John Barry: A Sixties Theme celebrates a life of stunning creativity , recreates an unforgettable era in British culture, and reveals how John Barry came to write his music and why.

Jacka's Mob, Revised Copy, Compiled & Edited by Carl Johnson & Andrew Barnes. (Original was in 1933.) This revised copy contains names and identities, which the original edition did not. Contents Preface - Introduction - Foreward - Authors Preface - So this is Anzac - Dear Bill, Ain't it a B___? - Goodbye, Gallipoli - Cairo - The line at Armentieres -Raids - To Poziers - On Poziers Ridge - Into it again - Out stunt - Out of Hell - Etaples, and our finest innings at Ypres - In the "Chain Conveyor" - "From him that have not" - A Land of the Dead - Bullencourt - School, and a Parisian interlude - At Messines - The Rebaptism of No. 11 Platoon - Viv Garner goes out - Gapaard - Codford - The End of Harry Danman - Pillage - Before Hammel - Hammel, before the Americans - In a backwater - Real Victories - The last chapter but one - Jacka's Flag

A revealing look at the work and life of an exceptional 20th-century photographer, based on his own archive of photographs and papers John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an outsider—a Jew in Germany, a naturalized citizen in the United States—informed his focus on individuals from the Asian-American, African-American, and gay communities, as well as his photography in India, Burma, and China during World War II.This handsome book acknowledges Gutmann’s place in the history of photography. Drawing on his archive of photographs and papers at the Center for Creative Photography, it presents both unfamiliar works and little-known contexts for his imagery, linking his photography to his passionate interest in painting and filmmaking, his collections of non-Western art and artifacts, and his pedagogy.  In addition to a major essay by Sally Stein, the volume includes an introduction by Douglas R. Nickel, and an overview of the Gutmann archive by Amy Rule.

This volume, a companion to Volume 17 and to many of the Essays in Persuasion (Volume 9), carries Keynes's involvement in the post-1919 reparations tangle down to the Lausanne Conference and Britain's subsequent effective default on her own war debts in June 1933 almost fourteen years to the day after Keynes's own resignation from the Treasury over the original Peace Settlement effectively removed the issue from practical politics. The events it covers were dramatic the German hyperinflation, the occupation of the Ruhr, the Dawes and Young Plans and the Hoover Moratorium. Throughout, Keynes attempted to shape opinion and the course of events through published articles, unsigned letters, contributions to The Nation and Athenaeum, speeches, letters, official committees and memoranda. These add an important dimension to our understanding of the history of the period.

Love, Justice, and Education by William H. Schubert brings to life key ideas in the work of John Dewey and their relevance for the world today. He does this by imagining continuation of a highly evocative article that Dewey published in the New York Times in 1933. Dewey wrote from the posture of having visited Utopia. Schubert begins each of thirty short chapters with a phrase or sentence from Dewey's article, in response to which a continuous flow of Utopians consider what is necessary for educational and social reform among Earthlings. Schubert encourages the Utopians, who have studied Earthling practices and literatures, to recommend from their experience what Earthlings need for educational and social reform and how they can address obstacles to that reform. The Utopians speak to myriad implications of Dewey's report by drawing upon a wide range of philosophical, literary, and educational ideas - including many of Dewey's other writings. Their central message is that loving relationships and empathic dedication to social justice are necessary for educational reform that responds wholeheartedly to learner needs and interests. True to Dewey's original position, such education must be built upon social reform that works to overcome acquisitive society based on greed: the principal impediment to realizing human potential, democratic society, and educational relationships that enhance it. To overcome the debilitating acquisitiveness that plagues Earth is the challenge for educators and all human beings who seek to involve the young in composing their lives and cultivating a world of integrity, beauty, justice, love, and continuously evolving capacities of humanity.

John Lautner learned architecture through hands-on-working experience rather than through classic academic training. He wanted ongoing change and passionate devotion. In 1933 he joined Frank Lloyd Wright at Taliesin West. Later, with his own office in Los Angeles, he became the only one of Wright's pupils who not only adopted the master's ideas but developed them further. For 50 years Lautner experimented with new methods of construction and with inventive formal departures, and of his 188 designs no fewer than 113 were built, most of them private houses. The sheer daring of these designs stunned his contemporaries, and remains stunning now. Many of his buildings, such as the celebrated Chemosphere, a home positioned atop a single concrete column built above Los Angeles in 1960, came to be seen as the symbols of a new architecture of limitless possibilities.

Love, Justice, and Education by William H. Schubert brings to life key ideas in the work of John Dewey and their relevance for the world today. He does this by imagining continuation of a highly evocative article that Dewey published in the New York Times in 1933. Dewey wrote from the posture of having visited Utopia. Schubert begins each of thirty short chapters with a phrase or sentence from Dewey's article, in response to which a continuous flow of Utopians consider what is necessary for educational and social reform among Earthlings. Schubert encourages the Utopians, who have studied Earthling practices and literatures, to recommend from their experience what Earthlings need for educational and social reform and how they can address obstacles to that reform. The Utopians speak to myriad implications of Dewey's report by drawing upon a wide range of philosophical, literary, and educational ideas - including many of Dewey's other writings. Their central message is that loving relationships and empathic dedication to social justice are necessary for educational reform that responds wholeheartedly to learner needs and interests. True to Dewey's original position, such education must be built upon social reform that works to overcome acquisitive society based on greed: the principal impediment to realizing human potential, democratic society, and educational relationships that enhance it. To overcome the debilitating acquisitiveness that plagues Earth is the challenge for educators and all human beings who seek to involve the young in composing their lives and cultivating a world of integrity, beauty, justice, love, and continuously evolving capacities of humanity.

Of the three great nineteenth-century American trompe l’oeil artists—William Michael Harnett (1848–1892), John Frederick Peto (1854–1907), and John Haberle (1856–1933)—the least well known is Haberle. Haberle approached painting with an informed and sophisticated connoisseurship. A highly original artist, he often alluded to complicated, ingenious, and entertaining aspects of contemporary society. The rarity of his work only adds to its allure. This catalogue, the seminal study of Haberle’s life and work, illuminates the artist and his witty works of art that continue to enthrall viewers today.

John Lautner learned architecture through hands-on-working experience rather than through classic academic training. He wanted ongoing change and passionate devotion. In 1933 he joined Frank Lloyd Wright at Taliesin West. Later, with his own office in Los Angeles, he became the only one of Wright's pupils who not only adopted the master's ideas but developed them further. For 50 years Lautner experimented with new methods of construction and with inventive formal departures, and of his 188 designs no fewer than 113 were built, most of them private houses. The sheer daring of these designs stunned his contemporaries, and remains stunning now. Many of his buildings, such as the celebrated Chemosphere, a home positioned atop a single concrete column built above Los Angeles in 1960, came to be seen as the symbols of a new architecture of limitless possibilities.