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28,5 x 23 cm. 256 S. mit zahlr. s/w Fotoabb. Illustr. OPpbd. Der erste große Einblick in das Werk der zu Unrecht weithin vergessenen Gesellschaftsfotografin. Frieda Riess (1890-1955), sie stammte aus einer jüdischen Kaufmannsfamilie, führte nach dem Ersten Weltkrieg ein repräsentatives Porträtatelier am Kurfürstendamm. Theaterleute, Künstler und Schriftsteller, Tänzerinnen und Varieté-Stars, aber auch der Adel und Vertreter der Diplomatie gehörten zu ihren Kunden. Sprache: deu, eng.

Riess examines the evolution of sport from its rural and urban origins as a less-than-respectable entertainment for the lower classes, through its antebellum upsurge when, with the development of a new sport ideology, it attained respectability-penetrating and finally remaking popular culture. Using a topical approach, Riess looks at sport from several vantage points, analyzing the interaction between sport and the rise of modern cities; the impact of sport on immigration, race, class, and gender; how sport became accessible through technological innovations; how it became integral to various educational and social movements; the coming of the professional sports figure; sport's links to politics and organized crime; and the role of women in sport. Highlighted with colorful anecdotes, the narrative unfurls a pageant of celebrities and unknowns, players, spectators, and entrepreneurs-all engaged in the drama that is American sport.

In January 1982, archaeologists conducting a pre-construction excavation at 175 Water Street in Lower Manhattan found the remains of an eighteenth-century ship. Uncertain of what they had found or what its value might be, they called in two nautical archaeologists―Warren Riess and Sheli Smith―to direct the excavation and analysis of the ship’s remains. As it turned out, the mystery ship’s age and type meant that its careful study would help answer some important questions about the commerce and transportation of an earlier era of American history.The Ship that Held Up Wall Street tells the whole story of the discovery, excavation, and study of what came to be called the “Ronson ship site,” named for the site’s developer, Howard Ronson. Entombed for more than two hundred years, the Princess Carolina proved to be the first major discovery of a colonial merchant ship.Years of arduous analytical work have led to critical breakthroughs revealing how the ship was designed and constructed, its probable identity as a vessel built in Charleston, South Carolina, its history as a merchant ship, and why and how it came to be buried in Manhattan.

Contributors include Bernard R. Goldstein, John E. Murdoch, Edward Grant, Susan O. Thompson, Jonathan B. Riess and others. Guillaume de Machaut (1300-1377) was a medieval French poet and composer. He is one of the earliest composers on whom significant biographical information is available. Bibliography. 348p. Measures 6x9 inches.

A major monument, Luca Signorelli's Orvieto Cathedral frescoes rendered with vigor and invective the most ambitious consideration of the Apocalypse and the Last Judgment in Italian Renaissance art. In a fresh interpretation of these frescoes, Jonathan Riess explores the intriguing, violent style and complex iconography and places the works in their richly faceted historical setting. Begun by Fra Angelico in 1447 and completed by Signorelli at the turn of the century, the frescoes reflect the turmoil within the Papal States, the suffering brought on by a surge of natural disasters, the fear of the Turks, and the anti-Judaic campaigns of the day. The book centers on the mural depicting the Rule of Antichrist, the single monumental portrayal of the subject during the Renaissance and a revealing indicator of widespread apocalyptic obsessions. Drawing on historical, theological, literary, and artistic sources, Riess examines the reasons behind the commissioning of the murals and considers the broad meaning of the program. The Rule of Antichrist, for example, is seen as a summa of the doom-laden worlds of Rome and Orvieto and as a blistering condemnation of the political realm. Signorelli's references to Dante, Virgil, and Cicero and to contemporary theology and dramatic performances come into play as Riess interprets the monument as a representation of the struggle between a penitential Christianity and the forces of heresy and tyranny.