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This book considers the film stills of Ernst Haas (1921-86), one of the most accomplished photographers of the 20th century, transgressing the borders between still photography and the moving image. Haas worked with a variety of eminent directors--from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino--and depicted cinema genres from suspense (The Third Man, The Train) to the Western (The Oregon Trail, Little Big Man), and from comedy (Miracle in Milan, Love and Death) to musicals (West Side Story, Hello Dolly). Haas inscribed a temporal, filmic dimension into his stills which, when viewed in a sequence, generate movement and narrative. So accomplished was his mastery of color, light and motion that Haas was frequently asked to photograph large group actions--from the battle scenes of The Charge of the Light Brigade and the dances of West Side Story to the ski slopes of Downhill Racer. On Set elucidates a novel perspective on the sets and the stars Haas photographed, and reveals a little-known but crucial dimension of his oeuvre.

Two volume set, softcover, in German.

Here is an upper student level Ernst Heinrich Roth violin from the 60 s/70 s era. It is in fantastic condition, well set up with Caspari pegs and f...

This book is a history of the initiative, its projects and actors, notably the architect and planner Ernst May, and its achievements, set within the turbulent context of the Weimar decade. It chronicles its many accomplishments: the construction of housing settlements, innovations in construction and materials, the parks and garden colonies program, innovations in school, medical facility and church design, reforms in woman’s sphere, and a crafting of New Life culture. It examines the New Frankfurt am Main in light of the social and political debates that shaped it and the works it produced, and describes the relationship of work and theory to contemporary reform movements. Finally, the narrative underscores the gulf between the idyll of modernity and the political and social realities of life in a Germany on the brink of collapse.

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. Cassirer’s thought also anticipates the renewed interest in the origins of analytic and continental philosophy in the Twentieth Century and the divergent paths taken by the 'logicist' and existential traditions, epitomised by his now legendary debate in 1929 with the philosopher Martin Heidegger, over the question "What is the Human Being?" The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial - of human beings as fundamentally "symbolic animals", placing signs and systems of expression between themselves and the world. This major new translation of all three volumes, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Taken together, the three volumes of The Philosophy of Symbolic Forms are a vital treatise on human beings as symbolic animals and a monumental expression of neo-Kantian thought. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index.

Composer: Ernst Bacon Coal Scuttle Blues (set) Piano Duet Publisher: Associated Category: Classical Series: Piano Duet Format: Paperback Tw...

Ernst Robert Curtis's great study of the forms of mediaevel Latin literature shows how these forms took their origin in classical writings and how, after their mediaeval transformations, they were perpetuated in modern literature. One of his major efforts was to develop a set of principles of literary criticism. He also made a special analysis of the contribution of Latin, both as a living language and as the medium of transmission for antique form and content. Technical procedures such as metaphor and the neglected rhetorical category of topics, together with such conceptual pattern as 'the hero', 'the ideal landscape', and 'the Muses', are fully discussed and illuminated by analogies drawn from Renaissance and modern literatures.

Through the work of Charles Darwin, a great task was set before science--to progress from opinions about evolution to a science of evolution, and reveal the inner laws and driving forces at work in the development of the organic world. In Thinking beyond Darwin, Ernst-Michael Kranich focuses on a central problem of evolutionary science. He shows us a way, based on Goethe's botanical and zoological investigations, of seeing the coherence and inner dynamics of organisms. Using Goethe's concept of type as a key to vertebrate evolution, Kranich methodically lays the foundation for a science of evolution. He focuses on the central problem of evolutionary science: are there underlying principles that connect the many disparate facts? By applying Goethe's method consistently to evolutionary thinking, Kranich shows that the laws and driving forces of evolution are encompassed by the inner lawfulness of living organisms and that we must participate through formative thinking in the evolutionary processes. Thinking beyond Darwin, makes an important contribution to the development of more adequate concepts of evolution and arrives at clear insights about earlier animal forms and evolutionary laws that could have immense consequences for future evolutionary thinking.

Journalist Hannah Vogel has vowed to never again set foot in her homeland of Germany while the Nazis are still in power. She has good reason: three years ago in 1931, she kidnapped her “son,” Anton, from the man claiming to be his father--Ernst Rohm, head of the Nazis' SA. A powerful man not to be trifled with, Hannah knows that Rohm will never stop searching for them. Hannah is asked to write about a zeppelin journey from South America to Switzerland, but Switzerland turns out to be too close. The zeppelin is diverted to Munich, where Hannah and Anton are kidnapped and, to Hannah's horror, separated. It’s unlucky timing for Rohm, however.  Hitler has ordered the execution of Rohm and hundreds of his storm troopers and is determined to wipe out any remaining traces of his name. The Night of the Long Knives has begun.When Rohm is killed before Hannah can ascertain Anton’s whereabouts, she desperately enlists all of her remaining sources and friends to locate Anton before the Nazis do. And the Gestapo is closing in...Thrilling and powerful, A Night of Long Knives breathtakingly recreates a shattered and betrayed city as it plunges into darkness. 

When Annie Kincaid informs her ex-boyfriend, curator Ernst Pettigrew, that the Brock Museum's fifteen-million-dollar Caravaggio painting is a fake, a bizarre chain of events is set in motion, forcing Annie to enter into an underworld of art forgers--a place she swore she left behind. Original.

Volume IV of A Corpus of Rembrandt Paintings deals uniquely with the self-portraits of Rembrandt. In a clearly written explanatory style the head of the Rembrandt Research Project and Editor of this Volume, Ernst van de Wetering, discusses the full body of work of paintings and etchings portraying Rembrandt. He sets the different parameters for accepting or rejecting a Rembrandt self-portrait as such, whilst also discussing the exact working environment of Rembrandt and his apprentices. This workshop setting created a surroundings where apprentices could be involved in working on Rembrandt paintings making it more difficult to determine the hand of the master. Van de Wetering, who is one of the Rembrandt experts of our day and age, goes down to great detail to explain how the different self-portraits are made and what techniques Rembrandt uses, also giving an overview of which paintings are to be attributed to the Dutch Master and which not. In the additional catalogue the self-portraits are examined in detail. In clear and accessible explanatory text the different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging like X-radiography. This work of art history and art research should be part of every serious art historical institute, university or museum. Nowhere in the art history have all Rembrandt’s self portraits been discussed in such detailed and comparative manner by an authority such as Ernst van de Wetering. This is a standard work for decades to come.

Composer: Ernst Krenek Easy Pieces 7 Set Publisher: Schott Category: Classical Series: Schott Format: Paperback Easy Pieces 7 Set Invent...

The final film completed by Ernst Lubitsch, this zany, zippy comedy of manners, set in England on the cusp of World War II, is one of the worldly-wise director's most effervescent creations. Jennifer Jones shines in a rare comedic turn as Cluny Brown, an irrepressible heroine with a zeal for plumbing. Sent to work as a parlormaid at a stuffy country manor, she proceeds to turn the household upside down with plenty of help from Adam Belinski (Charles Boyer), an eccentric continental exile who has

The final film completed by Ernst Lubitsch, this zany, zippy comedy of manners, set in England on the cusp of World War II, is one of the worldly-wise director's most effervescent creations. Jennifer Jones shines in a rare comedic turn as Cluny Brown, an irrepressible heroine with a zeal for plumbing. Sent to work as a parlormaid at a stuffy country manor, she proceeds to turn the household upside down with plenty of help from Adam Belinski (Charles Boyer), an eccentric continental exile who has