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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.

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.

Edited by A.L. Rice. 6.5x9.5" 336 pages photo illustrated & maps too! Copyright 1986 thus a First Edition, published by Unesco..

“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 Drawing on such published and unpublished accounts from writers and public figures visiting Germany, Travels in the Reich creates a chilling composite portrait of the reality of life under Hitler.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.

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.

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.

Strangers in Paradise John Russell Taylor

The prequel to David Downings bestselling Station series introduces John Russell, an Englishman with a political past who must keep his head down as the Nazis solidify their power.February 27, 1933. In this stunning prequel to the John Russell espionage novels, the Reichstag parliament building in Berlin is set ablaze. Its just a month after Hitlers inauguration as Chancellor of Germany, and the Nazis use the torching to justify a campaign of terror against their political opponents. John Russells recent separation from his wife threatens his right to reside in Germany and any meaningful relationship with his six-year-old son, Paul. He has just secured work as a crime reporter for a Berlin newspaper, and the crimes which he has to report-the gruesome murder of a rent boy, the hit-and-run death of a professional genealogist, the suspicious disappearance of a Nazi-supporting celebrity fortune-teller-are increasingly entangled in the wider nightmare engulfing Germany.Each new investigation carries the risk of Russells falling foul of the authorities, at a time when the rule of law has completely vanished, and the Nazis are running scores of pop-up detention centers, complete with torture chambers, in every corner of Berlin.

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.

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.

John Severson (born 1933) revolutionized pop culture's vision of surfing and surf culture through his prolific artistic output that transverses decades and disciplines. He began his career as a painter, selling his canvases at Long Beach State College. These first works consisted of oil paintings, photographs, drawings and prints relating to Hawaiian and Californian surf culture. In 1958, Severson expanded his repertoire and created a series of popular surf movies, such as Surf Safari, Surf Fever, Big Wednesday and Pacific Vibrations. While his were among the first surf movies, it was the posters associated with them, hugely popular when issued in the 1950s and 1960s, that remain collector favorites today. Showcased in these early posters, his graphic skills translated easily to Surfer magazine, which he founded in 1960. The magazine was the first to celebrate and revolutionize the art and sport of surfing, establishing it as a powerful pop culture phenomenon. The first issue was a 36-page collection of black-and-white photos, cartoon sketches and short articles--every aspect of which was created by Severson himself. His photographs appeared in Life, Sports Illustrated, Paris Match and other print venues. John Severson's SURF explores Severson's surf odyssey through painting, photography, film and publishing. Featuring an interview with the artist by Nathan Howe, artist and curator at Puka Puka, Hawaii, foreword by Gerry Lopez, surfer and co-founder of Lightning Bolt surfboards and afterword by Drew Kampion, author and former editor of Surfer, John Severson's SURF documents the birth of surf culture and serves as a testament to our ocean.

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.

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.

John Severson (born 1933) revolutionized pop culture's vision of surfing and surf culture through his prolific artistic output that transverses decades and disciplines. He began his career as a painter, selling his canvases at Long Beach State College. These first works consisted of oil paintings, photographs, drawings and prints relating to Hawaiian and Californian surf culture. In 1958, Severson expanded his repertoire and created a series of popular surf movies, such as Surf Safari, Surf Fever, Big Wednesday and Pacific Vibrations. While his were among the first surf movies, it was the posters associated with them, hugely popular when issued in the 1950s and 1960s, that remain collector favorites today. Showcased in these early posters, his graphic skills translated easily to Surfer magazine, which he founded in 1960. The magazine was the first to celebrate and revolutionize the art and sport of surfing, establishing it as a powerful pop culture phenomenon. The first issue was a 36-page collection of black-and-white photos, cartoon sketches and short articles--every aspect of which was created by Severson himself. His photographs appeared in Life, Sports Illustrated, Paris Match and other print venues. John Severson's SURF explores Severson's surf odyssey through painting, photography, film and publishing. Featuring an interview with the artist by Nathan Howe, artist and curator at Puka Puka, Hawaii, foreword by Gerry Lopez, surfer and co-founder of Lightning Bolt surfboards and afterword by Drew Kampion, author and former editor of Surfer, John Severson's SURF documents the birth of surf culture and serves as a testament to our ocean.

John Galsworthy (1867 - 1933) was an English novelist and playwright. Notable works include The Forsyte Saga (1906-1921) and its sequels, A Modern Comedy and End of the Chapter. He won the Nobel Prize in Literature in 1932. Although he wrote both plays and novels, it was as a playwright that he was mainly appreciated at the time. Along with those of other writers of the time, such as George Bernard Shaw, his plays addressed the class system and social issues, two of the best known being Strife (1909) and The Skin Game (1920). He is now far better known for his novels, particularly The Forsyte Saga, his trilogy about the eponymous family and connected lives. These books, as with many of his other works, deal with social class, upper-middle class lives in particular. Although sympathetic to his characters, he highlights their insular, snobbish, and acquisitive attitudes and their suffocating moral codes. He is viewed as one of the first writers of the Edwardian era who challenged some of the ideals of society depicted in the preceding literature of Victorian England. The depiction of a woman in an unhappy marriage furnishes another recurring theme in his work. Through his writings he campaigned for a variety of causes, including prison reform, women's rights, animal welfare, and the opposition of censorship. During World War I he worked in a hospital in France as an orderly after being passed over for military service. He was elected as the first president of the PEN International literary club in 1921, was appointed to the Order of Merit in 1929 - after earlier turning down a knighthood - and was awarded the Nobel Prize in 1932. He was too ill to attend the Nobel awards ceremony, and died six weeks later of a stroke.

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.

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.