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The humble fish hook derives its form from its function: to catch fish. But in cultures where fishing is central to the way of life, the crafting of fish hooks is elevated to a form of art.Fish Hooks of the Pacific Islands brings together the finest specimens from private collections all over the world. Included are more than three hundred newly commissioned photographs showing over six hundred fish hooks at their actual size, accompanied by details on their features and provenance. This is the first comprehensive catalog of Pacific Island fish hooks in more than eighty years, and it brings together vast amounts of new information, including recent discoveries and updated research. In addition, the book includes contributions by Sydney Picasso and oceanic art expert Anthony J. P. Meyer. Opulently illustrated and unprecedented in its comprehensiveness, Fish Hooks of the Pacific Islands offers an incredible amount of information and will be essential to scholars and collectors of tribal or Pacific Island art.

The works from Daniel Bernoulli's youth contained in this first volume of his Collected Works bear witness above all of his versatility; they deal with subjects as different as physiology, formal logic, mathematical analysis, hydrodynamics and positional astronomy. Daniel Bernoulli's contacts with Italian scientists gave rise to several controversies. The present volume documents both sides in each of these debates, which culminated with the publication of Bernoulli's first book Exercitationes mathe- maticae in 1724. The discussions with the renowned mathematician Jacopo Riccati on second-order differential equations and on the Newtonian theory of the out-flow of fluids from vessels deserve particular interest. A third group of texts goes back to the time Bernoulli spent at the newly- founded Academy of Sciences in St. Petersburg, where he had been appointed in 1725. There he worked out two more contributions to physiological research - on muscle movement and on the blind spot in the human eye - as well as his only paper in positional astronomy. This last work - suggested by a prize question of the Paris Académie des Sciences - became the occasion for a vehement conflict; the present volume documents these "Zänkereien" (squabbles) and also reproduces three competing treatises. To complete the documentation of Daniel Bernoulli's work on physiology, the volume also includes his academic ceremonial speech De Vita of 1737, where he sketches for the first time the circulation of the work done by the human heart, and its elaboration by Bernoulli's student Daniel Passavant.

Provocative, informative recollections of the varied and colorful life of the great pianist-composer, dictated to his close friend, with an Introduction by Daniel Gregory Mason CONTENTS: Happy Childhood in the Country; The St. Petersburg Conservatoire; Moscow - Sverev and Arensky; A Dramatic Incident - The Moscow Conservatoire; The "Free Artist" - First Symphony; Serious Mental Shock and Final Recovery; Growing Popularity; An Idyll in Dresden; The Summit of Life; War and Revolution; America 21919; Rachmaninoff as Composer; Notes on the Family of Rachmaninoff; List of Works; Index. Illustrated.

Robert Holl, Peter Seiffert, Emily Magee, and Andreas Schmidtstar in this 1999 Bayreuth production of the Wagner opera conducted by Daniel Barenboim.

Daniel Barenboim conducts the Berlin Philharmonic with cellist Alisa Weilerstein in works by Wagner, Elgar, and Brahms in this 201 performance at the Sheldonian Theatre, Oxford.

This item is printed on demand - it takes 3-4 days longer - Neuware -Frontmatter -- Vorwort -- Inhaltsübersicht -- 1. Einsatz und Angebot von Infusionsapparaten -- 2. Testergebnisse -- 3. Prüfprogramm -- 4. Wirtschaftlichkeit -- Anhang -- Backmatter 112 pp. Deutsch

[ART]. Deleuze, Gilles. Translator: Daniel W. Smith. "Francis Bacon: The Logic of Sensation." London and New York: Continuum, 2005. English language. Softcover. 8 x 5 x 0.5 in. 20 x 13 x 1.5 cm. 7 oz. xv, 151 pp. Front cover bows out. Price in pencil on half-title. Text clean. Very Good Plus. ISBN: 9780826479303."'Francis Bacon' is Deleuze's long-awaited work on Bacon, widely regarded as the one of the most radical painters of the twentieth century. The book presents a deep engagement with Bacon's work and the nature of art. Deleuze analyses the distinctive innovations that came to mark Bacon's style while introducing a number of his own famous concepts. Deleuze links Bacon's work to Cezanne's notion of a 'logic' of sensation, which reaches its summit in color."

In a major revision of feminist-psychoanalytic theories of film pleasure and sexual difference, Studlar's close textual analysis of the six Paramount films directed by Josef von Sternberg and starring Marlene Dietrich probes the source of their visual and psychological complexity.Borrowing from Gilles Deleuze's psychoanalytic-literary approach, Studlar shows how masochism extends beyond the clinical realm, into the arena of artistic form, language, and production of pleasure. The author's examination of the von Sternberg/Dietrich collaborations shows how these films, with the mother figure embodied in the alluring yet androgynous Dietrich, offer a key for understanding film's "masochistic aesthetic."Studlar argues that masochism's broader significance to film study lies in the similarities between the structures of perversion and those of the cinematic apparatus, as a dream screen reviving archaic visual pleasures for both male and female spectators.

In a major revision of feminist-psychoanalytic theories of film pleasure and sexual difference, Studlar's close textual analysis of the six Paramount films directed by Josef von Sternberg and starring Marlene Dietrich probes the source of their visual and psychological complexity.Borrowing from Gilles Deleuze's psychoanalytic-literary approach, Studlar shows how masochism extends beyond the clinical realm, into the arena of artistic form, language, and production of pleasure. The author's examination of the von Sternberg/Dietrich collaborations shows how these films, with the mother figure embodied in the alluring yet androgynous Dietrich, offer a key for understanding film's "masochistic aesthetic."Studlar argues that masochism's broader significance to film study lies in the similarities between the structures of perversion and those of the cinematic apparatus, as a dream screen reviving archaic visual pleasures for both male and female spectators.

In his stunning essay, Coldness and Cruelty, Gilles Deleuze provides a rigorous and informed philosophical examination of the work of the late 19th-century German novelist Leopold von Sacher-Masoch. Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's "peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity." He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism; their worlds do not communicate, just as the genius of those who created them - Masoch and Sade - lie stylistically, philosophically, and politically poles a part. Venus in Furs, the most famous of all of Masoch's novels was written in 1870 and belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here - fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness - these do not eclipse the singular power of Masoch's eroticism.

In his stunning essay, Coldness and Cruelty, Gilles Deleuze provides a rigorous and informed philosophical examination of the work of the late 19th-century German novelist Leopold von Sacher-Masoch. Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's "peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity." He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism; their worlds do not communicate, just as the genius of those who created them - Masoch and Sade - lie stylistically, philosophically, and politically poles a part. Venus in Furs, the most famous of all of Masoch's novels was written in 1870 and belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here - fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness - these do not eclipse the singular power of Masoch's eroticism.

In his stunning essay, Coldness and Cruelty, Gilles Deleuze provides a rigorous and informed philosophical examination of the work of the late 19th-century German novelist Leopold von Sacher-Masoch. Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's "peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity." He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism; their worlds do not communicate, just as the genius of those who created them - Masoch and Sade - lie stylistically, philosophically, and politically poles a part. Venus in Furs, the most famous of all of Masoch's novels was written in 1870 and belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here - fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness - these do not eclipse the singular power of Masoch's eroticism.

From New York Times best-selling author Thomas Piketty and noted Professors of Economics Daniel Cohen and Gilles Saint-Paul, comes an in-depth discussion of rising inequalities in the western world. It explores the extent to which rising inequalities are the mechanical consequence of changes in economic fundamentals (such as changes in technological or demographic parameters), and to what extent they are the contingent consequences of country-specific and time-specific changes in institutions. Both the 'fundamentalist' view and the 'institutionalist' view have some relevance. For instance, the decline of traditional manufacturing employment since the 1970s has been associated in every developed country with a rise of labor-market inequality (the inequality of labor earnings within the working-age population has gone up in all countries), which lends support to the fundamentalist view. But, on the other hand, everybody agrees that institutional differences (minimum wage, collective bargaining, tax and transfer policy, etc.) between Continental European countries and Anglo-Saxon countries explain why disposable income inequality trajectories have been so different in those two groups of countries during the 1980s-90s, which lends support to the institutionalist view.The chapters in this volume show the strength of both views. Through empirical evidence and new theoretical insights the contributors argue that institutions always play a crucial role in shaping inequalities, and sometimes preventing them, but that inequalities across age, sex, and skills often recur. From Sweden to Spain and Portugal, from Italy to Japan and the USA, the volume explores the diversity of the interplay between market forces and institutions.

In his stunning essay, Coldness and Cruelty, Gilles Deleuze provides a rigorous and informed philosophical examination of the work of the late 19th-century German novelist Leopold von Sacher-Masoch. Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's "peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity." He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism; their worlds do not communicate, just as the genius of those who created them - Masoch and Sade - lie stylistically, philosophically, and politically poles a part. Venus in Furs, the most famous of all of Masoch's novels was written in 1870 and belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here - fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness - these do not eclipse the singular power of Masoch's eroticism.

In a major revision of feminist-psychoanalytic theories of film pleasure and sexual difference, Studlar's close textual analysis of the six Paramount films directed by Josef von Sternberg and starring Marlene Dietrich probes the source of their visual and psychological complexity.Borrowing from Gilles Deleuze's psychoanalytic-literary approach, Studlar shows how masochism extends beyond the clinical realm, into the arena of artistic form, language, and production of pleasure. The author's examination of the von Sternberg/Dietrich collaborations shows how these films, with the mother figure embodied in the alluring yet androgynous Dietrich, offer a key for understanding film's "masochistic aesthetic."Studlar argues that masochism's broader significance to film study lies in the similarities between the structures of perversion and those of the cinematic apparatus, as a dream screen reviving archaic visual pleasures for both male and female spectators.

The stars here are of the most brilliant variety: Daniel Barenboim, Anne-Sophie Mutter, Herbert Von Karajan, Yo-Yo Ma, Maurizio Pollini, the Vienna Philharmonic, Berlin Philharmonic and others. And while many of the pieces are likewise famous, this set also includes rare early works and the composer's own piano arrangement of his Violin Concerto in D Major. Also here: Piano Concertos Nos. 1-5; Rondo for Piano and Orchestra in B Flat; Concerto for Piano, Violin and Cello in C Major; Violin Concer

Field Marshal Helmuth Graf von Moltke is best known for his direction of the German/Prussian campaigns against Austria in 1866 and France in 1870-71, yet it was during his service as chief of the General Staff that he laid the foundation for the German way of war which would continue through 1945.Professor Daniel Hughes of the Air War College, in addition to editing and assisting with the translation of this selection of Moltke's thoughts and theories on the art of war, has written an insightful commentary on "Moltke the Elder" that places him in the broader context of Prussian and military thought. Hughes notes that Moltke's writings helped shape the practical application of influential Prussian military theorist Carl von Clausewitz's sometimes abstract philosophical ideas.The book also contains an extensive bibliographic and historiographic commentary that includes references to Moltke and his theories in the current literature in Germany, England, and the United States - a valuable aid to anyone doing research on the subject.This volume, in addition to its appeal to scholars, serves as an introduction to the theory of the German army, as well as a summary of Moltke's enduring theoretical legacy.

Attention : quelques rares passages souligns en rouge. Exemplaire du philosophe Bernard Sichre, avec son tampon d'ex-libris. In-8, broch, 548 pp. Texte tabli par Friedrich-Wilhem von Herrmann. Traduit de l'allemand par Daniel Panis.

Attention : quelques rares passages souligns en rouge. Exemplaire du philosophe Bernard Sichre, avec son tampon d'ex-libris. In-8, broch, 548 pp. Texte tabli par Friedrich-Wilhem von Herrmann. Traduit de l'allemand par Daniel Panis.

Art has never been as culturally and economically prominent as it is today. How can artists themselves shape the social relevance and impact of their work? In How to Do Things with Art, German art historian Dorothea von Hantelmann uses four case study artists--Daniel Buren, James Coleman, Jeff Koons and Tino Sehgal--to examine how an artwork acts upon and within social conventions, particularly through the "performing" of exhibitions. The book's title is a play on J.L. Austin's seminal text, How to Do Things with Words, which describes language's reality-producing properties and demonstrates that in "saying" there is always a "doing"--a linguistic counterpart to the dynamics envisioned by Von Hantelmann for art, in which "showing" is a kind of "doing." Von Hantelmann's close analysis of works by Buren, Coleman, Koons and Sehgal explores how each of these artists has taken control of how their work conducts itself in the world.