Bøger om Sent 20. århundrede

In seiner unverkennbaren eigenen Art und Sprache erzählt uns Steffen die Geschichte seines Lebens, wie er in Ostdeutschland aufwuchs, zum Uhrmacher ausgebildet wurde und sich in der Theaterszene wiederfand, dann seine atemberaubende Flucht in den Westen, seine bayrische Sozialisierung im Münchner Barmilieu der 1990er, seine Reisen und tiefe Verbindung mit östlicher Kultur und schließlich einer Neuorientierung, die, durch Krankheit geprägt, das Äußere nach innen verlegt, aber dadurch nicht an Originalität und Abenteuer einbüßt.Das vorliegende Werk beschreibt mit schonungsloser Ehrlichkeit die Entwicklung und den Reifeprozess eines liebenswerten Menschen, dessen Anderssein nicht allein, aber auch nicht zuletzt, in seiner Sexualität Ausdruck findet.

The Max Planck Society (MPG), one of the most successful research institutions worldwide, serves as a prime example of the German science system, in which hierarchies and relations of dependency play a major role. This body stands center stage in the present book, which analyzes processes of socio-cultural and structural transformation at the MPG during the first fifty years of its existence-from the non-transparent interdependencies typical of informal networks to a modern research institution geared towards gender equality policy. Two women's working worlds within this research organization are analyzed through a cultural history and history-of-science lens. One of them, science, was long closed to all but a tiny number of women. The other was the office, where most women in this context worked most of the time. What promoted female scientific careers at the MPG, what obstructed them, and what role did the »Harnack Principle,« the MPG's own structural principle of the personality-centered organization of research, play in these processes?The book also foregrounds the negotiation of gender equality processes beginning in the late 1980s, which helped break down the traditional gender order and trigger a cultural shift at the Max Planck Society.

From the New York Times bestselling author of The Women in the Castle comes a sweeping story of a nation on the rise, and one family's deeply complicated relationship to the resource that built their fortune and fueled their greatest tragedy, perfect for fans of The Dutch House and The Great Circle.The war is over, and America has entered a golden age: The Age of Oil.It's 1953, and for Nick Taylor, WWII veteran turned company lawyer, oil is the key to the future. He takes the train into the city for work and returns to the peaceful streets of the suburbs and to his wife, Bet, former codebreaker now housewife, and their two children, Katherine and Harry. Nick comes from humble origins but thanks to his work for American Oil, he can provide every comfort for his family, including Last House, a secluded country escape. Deep in the Vermont mountains, the Taylors are free from the stresses of modern life. Bet doesn't have to worry about the Russian H-bombs that haunt her dreams, and the children roam free in the woods. Last House is a place that could survive the end of the world.It's 1968, and America is on the brink of change. Protestors fill the streets to challenge everything from the Vietnam War to racism in the wake of MLK's shooting--to the country's reliance on Big Oil. As Katherine makes her first forays into adult life, she's caught up in the current of the time and struggles to reconcile her ideals with the stable and privileged childhood her Greatest Generation parents worked so hard to provide. But when the Movement shifts in a more radical direction, each member of the Taylor family will be forced to reckon with the consequences of the choices they've made for the causes they believed in.Spanning multiple generations and nearly eighty years, Last House tells the story of one American family during an age of grand ideals and even greater downfalls. Set against the backdrop of our nation's history, this is an emotional tour de force that digs deeply into questions of inheritance and what we owe each other--and captures to stunning effect the gravity of time, the double edge of progress, and the hubris of empire.

1989. Verden er på randen af en revolution, og journalisten Allie Burns er tilbage. Ældre og måske lidt klogere, leder hun nu nyhedsafdelingen på The Sunday Globe i Glasgow. Hun er ikke længere graverjournalist, men nyhedsredaktør og stadig skrækslagen for at ende i rendestenen sammen med de brutale britiske tabloidmedier. Og hun får travlt. Året begynder med en mindegudstjeneste for ofrene fra Lockerbie-bombningen, og Allie har knap nok leveret den historie, før hun falder over en chokerende historie om aids-patienter. Den avisverden hun opererer i er under stærk forandring, og den kolde krig præger tiden. Da et mord sker, bliver Allie tvunget til at sætte spørgsmålstegn ved flere af sine gamle overbevisninger.1989 er anden bog i en planlagt serie på fem bind om Allie Burns. Vi følger hende fra 1979 og frem gennem fem årtier, på rejsen fra ung journalist til garvet ekspert, gennem mordsager og op- og nedture i karrieren, med Storbritanniens historie som medrivende bagtæppe. Allie Burns er baseret på Val McDermids egne erfaringer som ung journalist i 1970’ernes Glasgow.

This book examines the key role of the digital image in architecture over four decades - in the process of digitizing knowledge in theory and practice - as well as its influence on architectural design and visualization: The transition from the analogue to the digital age is analyzed on the basis of 51 design visualizations, from hand drawings to photomontage to computer renderings, in order to illustrate how architecture has been impacted by digital methods and media. Architecture Transformed is the result of a collaboration between the Deutsches Dokumentationszentrum für Kunstgeschichte - Bildarchiv Foto Marburg and the Chair of Architecture and Visualization at Brandenburg University of Technology Cottbus-Senftenberg as part of the German Research Foundation program entitled "The Digital Image." On the practice of the digital image in architecture With essays and 51 design visualizations by David Chipperfield, Odile Decq & Benoît Cornette, Gramazio & Kohler, Herzog & de Meuron, Greg Lynn, Jean Nouvel, Oswald Mathias Ungers, among others With explanatory and in-depth texts

In the depths of industrial West Yorkshire during the transformative era of the 1960s and 1970s, Red Bricks and Loose Dogs takes readers on a profound journey of introspection. Inspired by the unwavering honesty of Father Jim, a trusted and wise man, the story unravels the truth behind the boy who grew into a man. Father Jim, revered for his wisdom, kept a powerful revelation hidden until his final moments. He shattered the illusion of his authority to grant heavenly visas or offer absolution, asserting that it is our personal responsibility to face the truth and examine our own past behaviours. Guided by Father Jim's honesty, the author of this remarkable memoir transports readers to the vibrant tapestry of his youth, set against the gritty industrial landscapes of West Yorkshire. Within this backdrop, the author rediscovers the influential people and defining moments that shaped his thinking and character for years to come.

Newly reissued with an eye-catching cover by Peter Mendelsund, one of legendary avant-garde writer Alain Robbe-Grillet's most important works

What happened to Anastasia's sister Maria?1918: Pretty, vivacious Grand Duchess Maria Nikolaevna of Russia, the nineteen-year-old daughter of the fallen Tsar Nicholas II, lives with her family in suffocating isolation, a far cry from their once-glittering royal household. Her days are a combination of endless boredom and paralyzing fear; her only respite are clandestine flirtations with a few of the guards imprisoning the family?and she never realizes her innocent actions could mean the difference between life and death.1973: When Val Doyle hears her father's end-of-life confession, ?I didn't want to kill her,? she's stunned. So she begins a search for the truth?about his words and her past. The clues she discovers are baffling?a jewel-encrusted box that won't open and a camera with its film intact. What she finds out pulls Val into one of the world's greatest mysteries: What truly happened to Grand Duchess Maria?

This work is made up of three articles that together make up a history of Soviet war cinema. Some themes of the war films produced in the USSR are not dealt with, such as the campaign in Afghanistan, which produced films with heroic content until the mid-1980s, and critical content in the last years of the regime. The focus is on the two main stages of this film genre: the Russian Civil War and the Second World War. The first chapter seeks to demonstrate that the cinema of the socialist realism school did not disappear after the artistic renewal that Soviet cinematography presented in the 1950s and 1960s. It has always found a place in historical cinema, especially the most ufanistic of them all: the Great Patriotic War of 1941-45. Films such as Ozvobozhdenie, from 1969, or Bitva za Moskvu, from 1985, by Yuri Ozerov, present compositions, angles, details derived from the paintings made by artists of socialist realism immediately after the war, especially between 1945 and 1953, the years when Stalin was at the head of the country and Zhdanov, who died in 1949, aimed to dictate the paths of art.

Cet ouvrage est composé de trois articles qui constituent ensemble une histoire du cinéma de guerre soviétique. Certains thèmes des films de guerre produits en URSS ne sont pas abordés, comme la campagne en Afghanistan, qui a donné lieu à des films au contenu héroïque jusqu'au milieu des années 1980, et au contenu critique dans les dernières années du régime. L'accent est mis sur les deux grandes étapes de ce genre cinématographique : la guerre civile russe et la Seconde Guerre mondiale. Le premier chapitre cherche à démontrer que le cinéma de l'école du réalisme socialiste n'a pas disparu après le renouveau artistique qu'a connu la cinématographie soviétique dans les années 1950 et 1960. Il a toujours trouvé sa place dans le cinéma historique, notamment le plus oufaniste d'entre eux : la Grande Guerre patriotique de 1941-45. Des films comme Ozvobozhdenie, de 1969, ou Bitva za Moskvu, de 1985, de Yuri Ozerov, présentent des compositions, des angles, des détails dérivés des peintures réalisées par les artistes du réalisme socialiste dans l'immédiat après-guerre, surtout entre 1945 et 1953, les années où Staline était à la tête du pays et où Zhdanov, mort en 1949, entendait dicter les voies de l'art.

Questo lavoro è composto da tre articoli che insieme costituiscono una storia del cinema di guerra sovietico. Non vengono trattati alcuni temi dei film di guerra prodotti in URSS, come la campagna in Afghanistan, che ha prodotto film dal contenuto eroico fino alla metà degli anni Ottanta, e dal contenuto critico negli ultimi anni del regime. L'attenzione si concentra sulle due fasi principali di questo genere cinematografico: la guerra civile russa e la seconda guerra mondiale. Il primo capitolo cerca di dimostrare che il cinema della scuola del realismo socialista non è scomparso dopo il rinnovamento artistico che la cinematografia sovietica ha presentato negli anni Cinquanta e Sessanta. Ha sempre trovato spazio nel cinema storico, soprattutto in quello più ufologico: la Grande Guerra Patriottica del 1941-45. Film come Ozvobozhdenie, del 1969, o Bitva za Moskvu, del 1985, di Yuri Ozerov, presentano composizioni, angolazioni, dettagli derivati dai quadri realizzati dagli artisti del realismo socialista nell'immediato dopoguerra, soprattutto tra il 1945 e il 1953, gli anni in cui Stalin era alla guida del Paese e Zhdanov, morto nel 1949, mirava a dettare i percorsi dell'arte.

Jeta rabota sostoit iz treh statej, kotorye wmeste sostawlqüt istoriü sowetskogo woennogo kino. Nekotorye temy woennyh fil'mow, snqtyh w SSSR, ne rassmatriwaütsq, naprimer, kampaniq w Afganistane, gde do serediny 1980-h godow snimalis' fil'my geroicheskogo soderzhaniq, a w poslednie gody suschestwowaniq rezhima - kriticheskogo. V centre wnimaniq - dwa osnownyh ätapa razwitiq ätogo kinozhanra: Grazhdanskaq wojna w Rossii i Vtoraq mirowaq wojna. Perwaq glawa prizwana pokazat', chto kino shkoly socialisticheskogo realizma ne ischezlo posle hudozhestwennogo obnowleniq, kotoroe sowetskij kinematograf perezhil w 1950-1960-e gody. Emu wsegda nahodilos' mesto w istoricheskom kino, osobenno w samom ufanisticheskom iz nih - o Velikoj Otechestwennoj wojne 1941-45 godow. Takie fil'my, kak "Ozdorowlenie" 1969 goda ili "Bitwa za Moskwu" 1985 goda Juriq Ozerowa, predstawlqüt kompozicii, rakursy, detali, wzqtye iz kartin hudozhnikow socialisticheskogo realizma srazu posle wojny, osobenno mezhdu 1945 i 1953 godami, kogda wo glawe strany stoql Stalin, a Zhdanow, umershij w 1949 godu, stremilsq diktowat' puti iskusstwu.

Diese Arbeit besteht aus drei Artikeln, die zusammen eine Geschichte des sowjetischen Kriegskinos bilden. Einige Themen der in der UdSSR produzierten Kriegsfilme werden nicht behandelt, wie z. B. der Feldzug in Afghanistan, der bis Mitte der 1980er Jahre Filme mit heroischem Inhalt hervorbrachte, und kritische Inhalte in den letzten Jahren des Regimes. Der Schwerpunkt liegt auf den beiden wichtigsten Etappen dieses Filmgenres: dem russischen Bürgerkrieg und dem Zweiten Weltkrieg. Das erste Kapitel soll zeigen, dass das Kino der Schule des sozialistischen Realismus nach der künstlerischen Erneuerung, die die sowjetische Kinematographie in den 1950er und 1960er Jahren erlebte, nicht verschwunden ist. Es hat immer einen Platz im historischen Kino gefunden, insbesondere im ufanistischsten von allen: dem Großen Vaterländischen Krieg von 1941-45. Filme wie Ozvobozhdenie (1969) oder Bitva za Moskvu (1985) von Yuri Ozerov zeigen Kompositionen, Blickwinkel und Details, die von den Gemälden der Künstler des sozialistischen Realismus unmittelbar nach dem Krieg abgeleitet sind, insbesondere zwischen 1945 und 1953, als Stalin an der Spitze des Landes stand und der 1949 verstorbene Zhdanov die Wege der Kunst diktieren wollte.

Born with a beat in his soul and a drumstick in hand, Warren I. Smith's destiny with music was inevitable. His musical chops took him from the smoky jazz clubs of Chicago, through the intoxicating energy of New York's music scene, to global tours, sharing the spotlight with some of the most iconic musical acts of the past six decades. An exceptional blend of a classically trained musician and a relentless riff master, Warren shattered barriers with his thirst for innovation alongside his indomitable spirit.But his journey was far from a solo act; it unfolded against the backdrop of the Civil Rights Era, where the rhythm of societal change harmonized with his personal revolution. In a time when Black musicians battled for recognition, he carved a path that would become a bridge between cultures and a beacon of resilience. His contributions to jazz, R&B, funk, pop, and rock and roll became a universal language, uniting hearts and transcending boundaries.Beyond the melodies and the applause lies a story of unwavering passion, unyielding determination, and unbreakable friendships. Crossing Borders and Playing With Pioneers invites you to step into the electrifying journey of a jazz legend, a trailblazing percussionist, drummer, arranger, and composer who didn't just play the music-he became its heartbeat.

Find Me: Stories by Bruce F. Kawin collects eight tales ranging in length from two pages to nearly a hundred, some strange and some comforting. "Terse and yet opulent, these stories are a revelation of language in action" (David E. James). Their topics include a brilliant sculpture made and named by a six-year-old girl; an FBI investigation that Kafka would recognize; a remark Borges made in a park to Kenneth Koch; and a fable of innocence and violence in an elementary school menagerie. The title novella, "Find Me," is a drama of love beyond death set in 21st-century Los Angeles in which the lovers confront both political and metaphysical forces on their way to a startling end.

Ralph White tells the remarkable story of how as a young banker in Saigon during the final weeks before the city fell to the North Vietnamese, he saved the entire staff of the Saigon branch of Chase Manhattan bank and their families, via a secret American-run network he discovered -- Argo meets The Fall of Saigon.

A critical look at the competing motivations behind one of modern architecture’s most widely known and misunderstood movements  Although “mid-century modern” has evolved into a highly popular and ubiquitous architectural style, this term obscures the varied perspectives and approaches of its original practitioners. In Nothing Permanent, Todd Cronan displaces generalizations with a nuanced intellectual history of architectural innovation in California between 1920 and 1970, uncovering the conflicting intentions that would go on to reshape the future of American domestic life.Focusing on four primary figures—R. M. Schindler, Richard Neutra, and Charles and Ray Eames—Nothing Permanent demonstrates how this prolific era of modern architecture in California, rather than constituting a homogenous movement, was propelled by disparate approaches and aims. Exemplified by the twin pillars of Schindler and Neutra and their respective ideological factions, these two groups of architects represent opposing poles of architectural intentionality, embodying divergent views about the dynamic between interior and exterior, the idea of permanence, and the extent to which architects could exercise control over the inhabitants of their structures.Looking past California modernism’s surface-level idealization in present-day style guides, home decor publications, films, and television shows, Nothing Permanent details the intellectual, aesthetic, and practical debates that lie at the roots of this complex architectural moment. Extracting this period from its diffusion into visual culture, Cronan argues that mid-century architecture in California raised questions about the meaning of architecture and design that remain urgent today.

En Syrie, aucune intervention humanitaire autorisée par le Conseil de sécurité des Nations unies n'a été lancée jusqu'à présent. Les tentatives de cessez-le-feu entre les parties impliquées ont échoué à plusieurs reprises. Cette étude examine le bilan de trois acteurs internationaux en ce qui concerne la doctrine de la responsabilité de protéger (R2P). Plus précisément, elle examine l'option consistant à institutionnaliser la responsabilité en matière d'intervention humanitaire. Pour ce faire, la doctrine de la responsabilité de protéger est analysée à travers deux organisations internationales, l'OTAN et l'UE, et un acteur national important, les États-Unis. Pour les États-Unis, les facteurs géopolitiques jouent un rôle majeur, et il est expliqué que la structure politique et les décisions du président sont cruciales pour les choix du pays. Pour l'OTAN, le manque de légitimité joue un rôle central en ce qui concerne la R2P, ainsi que le précédent historique de son implication dans le conflit en Libye en 2011. Enfin, l'UE est décrite en mettant l'accent sur les limites institutionnelles et son potentiel à devenir une autorité normative en matière de R2P. L'analyse de ces acteurs internationaux permet de replacer le conflit syrien dans une large perspective internationale.

In Siria, finora non è stato avviato alcun intervento umanitario autorizzato dal Consiglio di Sicurezza delle Nazioni Unite. I tentativi di cessate il fuoco tra le parti coinvolte sono falliti ripetutamente. Questo studio analizza tre attori internazionali in relazione al loro operato in merito alla dottrina della responsabilità di proteggere (R2P). Più specificamente, viene esaminata l'opzione di istituzionalizzare la responsabilità per l'intervento umanitario. A tal fine, la dottrina R2P viene analizzata attraverso due organizzazioni internazionali, la NATO e l'UE, e un importante attore nazionale, gli Stati Uniti. Per gli Stati Uniti, i fattori geopolitici giocano un ruolo fondamentale e viene spiegato che la struttura politica e le decisioni del presidente sono cruciali per le scelte del Paese. Per la NATO, la mancanza di legittimità gioca un ruolo centrale quando si parla di R2P, insieme al precedente storico del suo coinvolgimento nel conflitto in Libia nel 2011. Infine, l'UE è descritta con enfasi sui limiti istituzionali e sul suo potenziale di diventare un'autorità normativa in materia di R2P. Attraverso l'analisi di questi attori internazionali, si cerca di collocare il conflitto siriano in un'ampia prospettiva internazionale.

In Syrien wurde bisher keine vom Sicherheitsrat der Vereinten Nationen genehmigte humanitäre Intervention eingeleitet. Versuche, einen Waffenstillstand zwischen den beteiligten Parteien zu erreichen, sind wiederholt gescheitert. In dieser Studie werden drei internationale Akteure im Hinblick auf ihre Haltung zur R2P-Doktrin (Responsibility to Protect) untersucht. Insbesondere wird die Option untersucht, die Verantwortung für humanitäre Interventionen zu institutionalisieren. Zu diesem Zweck wird die R2P-Doktrin anhand von zwei internationalen Organisationen, der NATO und der EU, und einem wichtigen nationalen Akteur, den Vereinigten Staaten, analysiert. Für die USA spielen geopolitische Faktoren eine große Rolle, und es wird erläutert, dass die politische Struktur und die Entscheidungen des Präsidenten für die Entscheidungen des Landes entscheidend sind. Für die NATO spielt der Mangel an Legitimität eine zentrale Rolle, wenn es um R2P geht, zusammen mit dem historischen Präzedenzfall ihrer Beteiligung am Konflikt in Libyen 2011. Schließlich wird die EU beschrieben, wobei der Schwerpunkt auf den institutionellen Beschränkungen und ihrem Potenzial liegt, eine normative Autorität für R2P zu werden. Durch die Analyse dieser internationalen Akteure wird der Versuch unternommen, den Syrienkonflikt in eine breite internationale Perspektive zu stellen.

V Sirii do sih por ne nachata gumanitarnaq interwenciq, sankcionirowannaq Sowetom Bezopasnosti OON. Popytki dobit'sq prekrascheniq ognq mezhdu storonami neodnokratno terpeli neudachu. V dannom issledowanii rassmatriwaütsq tri mezhdunarodnyh aktora s tochki zreniq ih otnosheniq k doktrine "Otwetstwennost' za zaschitu" (R2P). Bolee konkretno, rassmatriwaetsq wariant institucionalizacii otwetstwennosti za gumanitarnoe wmeshatel'stwo. Dlq ätogo doktrina R2P analiziruetsq na primere dwuh mezhdunarodnyh organizacij, NATO i ES, i odnogo wazhnogo nacional'nogo igroka, SShA. Dlq SShA osnownuü rol' igraüt geopoliticheskie faktory, i ob#qsnqetsq, chto politicheskaq struktura i resheniq prezidenta imeüt reshaüschee znachenie dlq wybora strany. Dlq NATO otsutstwie legitimnosti igraet glawnuü rol', kogda rech' zahodit o R2P, narqdu s istoricheskim precedentom ee uchastiq w konflikte w Liwii w 2011 godu. Nakonec, ES opisywaetsq s akcentom na institucional'nyh ogranicheniqh i ego potenciale stat' normatiwnym awtoritetom w oblasti R2P. Cherez analiz ätih mezhdunarodnyh aktorow delaetsq popytka predstawit' sirijskij konflikt w shirokoj mezhdunarodnoj perspektiwe.

Angelina has graduated from High School and is now working full time for her father at Dom's Automotive and Performance Center. One night she is working late and has to defend herself against armed thieves looking for things to steal. How does a polite sweet beautiful young girl trying to live her life deal with situations that require her to fight for her life? She begins to feel as if she is attracting these situations and that is the last thing she wants. Along with all of this she begins to have visions of a distressed adolescent girl. Soon the visions turn into a group of distressed adolescent girls. Who are they and why is she having visions of these girls? While she is trying to make sense of this, she ends up in a serious confrontation with her best friend Sherri's new boyfriend and his best friend. Now Sherri's life is in danger as well. As the visions of these adolescent girls become more frequent, she learns that she shares something with her Aunt Maria and Sherri that she and Sherri have difficulty understanding. The visions of the adolescent girls become more vivid as she continues to see more bits and pieces. Soon she finds herself in grave danger.

On September 9, 2002, the MIT program in Science, Technology, and Society (STS)held the first in a week-long series of events marking the inaugural anniversary of 9/11.The goal was to stimulate "personal reflection and remembrance" of the tragedy and itsaftermath among members of the MIT administration, faculty, students, and staff. Inher welcoming address to those assembled in Killian Hall for a colloquium titled, "MITin a Dangerous World," historian and director of the STS program Rosalind Williamsshared her hope that, by "the end of this week, MIT's motto of 'Mind and Hand' willsomewhat be modified to remind us all that it's mind, hand, and heart that have to worktogether."3 The point of the colloquium, she explained, was to broadly consider MIT'ssocial and moral responsibilities in a new era of global conflict.

AN ANTHOLOGY OF THE HEROICS OF SOLDIERS WHO SERVED DURING THE VIETNAM WAR The Medal of Honor is awarded to an individual serving or in the Armed Services of the United States who has shown valor in the face of danger against hostile forces. Only those who have gone beyond the call of beyond of duty are considered to becoming a recipient of the US Military's most prestigious award. The Medal of Honor is given by the US Government and presented by the President on behalf of Congress. As of October 2017, only 3,517 soldiers from the Army, Navy, Air Force, Marine Corps and Coast Guard have been awarded with this honor, and 621 of them were posthumously awarded to courageous servicemen who lost their lives in combat. Recipients are forever recognized for their extraordinary accomplishments while serving in the military. There are three distinct versions of the medal: one for the Army, one for the Air Force, and one for the Navy, the Marine Corps, and the Coast Guard. Originally, the Medal of Honor was created solely for the Navy in 1861. The other military branches followed suit; the Army medal was created in 1862 and finally the Air Force in 1965. Thomas E. Creek, Rodney M. Davis, and Wesley L. Fox - were awarded the medal for their heroic actions during the Vietnam War (1955-1975).