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Antroposofische interpretatie van enkele passages uit de "Divina Commedia"

The Barbarians Speak re-creates the story of Europe's indigenous people who were nearly stricken from historical memory even as they adopted and transformed aspects of Roman culture. The Celts and Germans inhabiting temperate Europe before the arrival of the Romans left no written record of their lives and were often dismissed as "barbarians" by the Romans who conquered them. Accounts by Julius Caesar and a handful of other Roman and Greek writers would lead us to think that prior to contact with the Romans, European natives had much simpler political systems, smaller settlements, no evolving social identities, and that they practiced human sacrifice. A more accurate, sophisticated picture of the indigenous people emerges, however, from the archaeological remains of the Iron Age. Here Peter Wells brings together information that has belonged to the realm of specialists and enables the general reader to share in the excitement of rediscovering a "lost people." In so doing, he is the first to marshal material evidence in a broad-scale examination of the response by the Celts and Germans to the Roman presence in their lands.

The recent discovery of large pre-Roman settlements throughout central and western Europe has only begun to show just how complex native European societies were before the conquest. Remnants of walls, bone fragments, pottery, jewelry, and coins tell much about such activities as farming, trade, and religious ritual in their communities; objects found at gravesites shed light on the richly varied lives of individuals. Wells explains that the presence--or absence--of Roman influence among these artifacts reveals a range of attitudes toward Rome at particular times, from enthusiastic acceptance among urban elites to creative resistance among rural inhabitants. In fascinating detail, Wells shows that these societies did grow more cosmopolitan under Roman occupation, but that the people were much more than passive beneficiaries; in many cases they helped determine the outcomes of Roman military and political initiatives. This book is at once a provocative, alternative reading of Roman history and a catalyst for overturning long-standing assumptions about nonliterate and indigenous societies.

Hugo Claus (1929-2008) stond erom bekend dat hij zijn ambacht tot in de puntjes beheerste. Zijn eruditie, veelzijdigheid en creatieve speelsheid zijn niet minder geprezen. Bij alle waardering voor Claus' literaire meesterschap mag niet worden vergeten dat de schrijver zowel in het publieke domein als in zijn gedichten, romans en toneelwerk voortdurend de confrontatie aanging met de politiek. Van het gekonkelfoes in achterkamertjes en het geroddel aan de toog tot de grote verhalen van priesters, collaborateurs en bankiers: Claus wist het allemaal even lucide als trefzeker te analyseren en van commentaar te voorzien. Voor eenduidige standpunten of partijpolitieke boodschappen bleek zijn intellectuele natuur allerminst geschikt.

In the years between World War II and the emergence of television as a mass medium, American popular culture as we know it was first created--in the pulpy, boldly illustrated pages of comic books. No sooner had this new culture emerged than it was beaten down by church groups, community bluestockings, and a McCarthyish Congress--only to resurface with a crooked smile on its face in Mad magazine.

The story of the rise and fall of those comic books has never been fully told--until The Ten-Cent Plague. David Hajdu's remarkable new book vividly opens up the lost world of comic books, its creativity, irreverence, and suspicion of authority.

When we picture the 1950s, we hear the sound of early rock and roll. The Ten-Cent Plague shows how--years before music--comics brought on a clash between children and their parents, between prewar and postwar standards. Created by outsiders from the tenements, garish, shameless, and often shocking, comics spoke to young people and provided the guardians of mainstream culture with a big target. Parents, teachers, and complicit kids burned comics in public bonfires. Cities passed laws to outlaw comics. Congress took action with televised hearings that nearly destroyed the careers of hundreds of artists and writers.
The Ten-Cent Plague radically revises common notions of popular culture, the generation gap, and the divide between "high" and "low" art. As he did with the lives of Billy Strayhorn and Duke Ellington (in Lush Life) and Bob Dylan and his circle (in Positively 4th Street), Hajdu brings a place, a time, and a milieu unforgettably back to life.

This volume includes full-color reproductions of drawings and woodblock prints by Japan's most beloved artist. These landscapes-including his famous views of Mount Fuji- portraits of lovers and kabuki actors, nature and animal illustrations, as well as scenes of daily life in eighteenth and nineteenth-century Japan reveal the artist's genius for rendering a wide variety of subjects. Matthi Forrer discusses in his essay Hokusai's life and lasting popularity while placing his work within the context of Japanese society and the work of his contemporaries.

Giordano Bruno is one of the great figures of early modern Europe, and one of the least understood. Ingrid D. Rowland’s pathbreaking life of Bruno establishes him once and for all as a peer of Erasmus, Shakespeare, and Galileo, a thinker whose vision of the world prefigures ours.

By the time Bruno was burned at the stake as a heretic in 1600 on Rome’s Campo dei Fiori, he had taught in Naples, Rome, Venice, Geneva, France, England, Germany, and the “magic Prague” of Emperor Rudolph II. His powers of memory and his provocative ideas about the infinity of the universe had attracted the attention of the pope, Queen Elizabeth—and the Inquisition, which condemned him to death in Rome as part of a yearlong jubilee.

Writing with great verve and sympathy for her protagonist, Rowland traces Bruno’s wanderings through a sixteenth-century Europe where every certainty of religion and philosophy had been called into question and shows him valiantly defending his ideas (and his right to maintain them) to the very end. An incisive, independent thinker just when natural philosophy was transformed into modern science, he was also a writer of sublime talent. His eloquence and his courage inspired thinkers across Europe, finding expression in the work of Shakespeare and Galileo.

Giordano Bruno allows us to encounter a legendary European figure as if for the first time.

The Falling Sky is a remarkable first-person account of the life story and cosmo-ecological thought of Davi Kopenawa, shaman and spokesman for the Yanomami of the Brazilian Amazon. Representing a people whose very existence is in jeopardy, Davi Kopenawa paints an unforgettable picture of Yanomami culture, past and present, in the heart of the rainforest--a world where ancient indigenous knowledge and shamanic traditions cope with the global geopolitics of an insatiable natural resources extraction industry.

In richly evocative language, Kopenawa recounts his initiation and experience as a shaman, as well as his first encounters with outsiders: government officials, missionaries, road workers, cattle ranchers, and gold prospectors. He vividly describes the ensuing cultural repression, environmental devastation, and deaths resulting from epidemics and violence. To counter these threats, Davi Kopenawa became a global ambassador for his endangered people. The Falling Sky follows him from his native village in the Northern Amazon to Brazilian cities and finally on transatlantic flights bound for European and American capitals. These travels constitute a shamanic critique of Western industrial society, whose endless material greed, mass violence, and ecological blindness contrast sharply with Yanomami cultural values.

Bruce Albert, a close friend since the 1970s, superbly captures Kopenawa's intense, poetic voice. This collaborative work provides a unique reading experience that is at the same time a coming-of-age story, a historical account, and a shamanic philosophy, but most of all an impassioned plea to respect native rights and preserve the Amazon rainforest.

A daring account of the philosophical development of the idea of a rational society and its consequences for the present

In the seventeenth century, a vision arose which was to captivate the Western imagination for the next three hundred years: the vision of Cosmopolis, a society as rationally ordered as the Newtonian view of nature. While fueling extraordinary advances in all fields of human endeavor, this vision perpetuated a hidden yet persistent agenda: the delusion that human nature and society could be fitted into precise and manageable rational categories. Stephen Toulmin confronts that agenda—its illusions and its consequences for our present and future world.

Four Parts, No Waiting investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. Starting with a discussion of the first craze for Austrian four-part close harmony in the 1830s, Averill traces the popularity of this musical form in minstrel shows, black recreational singing, vaudeville, early recordings, and in the barbershop revival of the 1930s. In his exploration of barbershop, Averill uncovers a rich musical tradition--a hybrid of black and white cultural forms, practiced by amateurs, and part of a mythologized vision of small-town American life. Barbershop harmony played a central -- and overlooked -- role in the panorama of American music. Averill demonstrates that the barbershop revival was part of a depression-era neo-Victorian revival, spurred on by insecurities of economic and social change. Contemporary barbershop singing turns this nostalgic vision into lived experience. Arguing that the "old songs" function as repositories of idealized social memory, Averill reveals ideologies of gender, race, and class. This engagingly-written, often funny book critiques the nostalgic myths (especially racial myths) that have surrounded the barbershop revival, but also celebrates the civic-minded, participatory spirit of barbershop harmony. The contents of the CD have been replaced by a companion website with helpful links, resources, and audio examples.

Politiek, achtergronden en actualiteiten in Turkije.

Psychologische achtergronden van het geloof in onzichtbare entiteiten die het menselijk leven beïnvloeden.

Grondbeginselen van de natuurkunde in historische context.

Onderzoek naar de identificatie van een schilderij dat de kunstenaar Jan Steen in 1655 schilderde.

Dialectic of Enlightenment is undoubtedly the most influential publication of the Frankfurt School of Critical Theory. Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism."

Yet the work goes far beyond a mere critique of contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present.

The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization.

Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book.

This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory.

Winner of the Society of American Historians' Francis Parkman Prize
Winner of the PEN / Jacqueline Bograd Weld Award for Biography
Best Biography of 2016, True West magazine
Winner of the Western Writers of America 2017 Spur Award, Best Western Biography
Finalist, National Book Critics Circle Award for Biography
Long-listed for the Cundill History Prize
One of the Best Books of 2016, The Boston Globe

The epic life story of the Native American holy man who has inspired millions around the world

Black Elk, the Native American holy man, is known to millions of readers around the world from his 1932 testimonial Black Elk Speaks. Adapted by the poet John G. Neihardt from a series of interviews with Black Elk and other elders at the Pine Ridge Reservation in South Dakota, Black Elk Speaks is one of the most widely read and admired works of American Indian literature. Cryptic and deeply personal, it has been read as a spiritual guide, a philosophical manifesto, and a text to be deconstructed—while the historical Black Elk has faded from view.

In this sweeping book, Joe Jackson provides the definitive biographical account of a figure whose dramatic life converged with some of the most momentous events in the history of the American West. Born in an era of rising violence between the Sioux, white settlers, and U.S. government troops, Black Elk killed his first man at the Little Bighorn, witnessed the death of his second cousin Crazy Horse, and traveled to Europe with Buffalo Bill’s Wild West show. Upon his return, he was swept up in the traditionalist Ghost Dance movement and shaken by the Massacre at Wounded Knee. But Black Elk was not a warrior, instead accepting the path of a healer and holy man, motivated by a powerful prophetic vision that he struggled to understand. Although Black Elk embraced Catholicism in his later years, he continued to practice the old ways clandestinely and never refrained from seeking meaning in the visions that both haunted and inspired him.

In Black Elk, Jackson has crafted a true American epic, restoring to its subject the richness of his times and gorgeously portraying a life of heroism and tragedy, adaptation and endurance, in an era of permanent crisis on the Great Plains.

The conversion of the pagan world that began in the obscurity of the Dark Ages was in no way inevitable. England did not embrace Christianity until 627, and while confessing communities existed from Greenland to China by the millennium, the last European conversion occurred late in the Middle Ages, in 1386. How did it all happen--and why? In a work of splid scholarship that often reads like a detective story and that owes as much to keen intuition as to the mastery of difficult sources, Richard Fletcher lays out the story of the Christianization of Europe. It is a very large story, for conversion was not merely a matter of religious belief. Christianity brought with it enormous cultural baggage. With it came Latin literacy--books; Roman notions of law, property, and government--even the concept of town life, and Mediterranean customs, including new tastes in food, drink, and dress. Whether from faith or by force, conversion had an immense impact that is with us even today, and it is Richard Fletcher's achievement to make that impact felt and understood.

Na het uitbreken van de Tweede Wereldoorlog vlucht een joodse jongeman naar Engeland, het begin van een avontuurlijk leven.

We staan voor een ongekende maatschappelijke verandering. Om de mondiale opwarming te stoppen, moet de uitstoot van CO2 drastisch omlaag. Daarom sluiten we kolencentrales en draaien we zelfs de gaskraan dicht. Hoe komen we dan aan voldoende, duurzame energie? Kan het wel met windmolens, zonnepanelen en warmtepompen? Blijven we toch gewoon gas gebruiken? Of biedt kernenergie een onverwachte uitkomst? Hoe haalbaar en betaalbaar is een fossielvrije toekomst? 0Dit boek beschrijft wat de transitie inhoudt en schept helderheid in een verhit debat vol vooringenomenheid, onjuiste argumentatie en preken voor eigen parochie. De energietransitie is een onmisbare bijdrage aan het denken over een van de grootste vraagstukken van de 21e eeuw. 0.

Life in Europe was fundamentally changed in the 16th century by the astonishing discoveries of the New World and of direct sea routes to Asia. To start with England was hardly involved and London remained a gloomy, introverted medieval city. But as the century progressed something extraordinary happened.

Stephen Alford's evocative, original and fascinating new book uses the same skills that made his widely praised The Watchers so successful, bringing to life the network of merchants, visionaries, crooks and sailors who changed London forever. In a sudden explosion of energy English ships were suddenly found all over the world - trading with Russia and the Levant, exploring Virginia and the Arctic, and fanning out across the Indian Ocean.

London's Triumph is above all about the people who made this possible - the families, the guild members, the money-men who were willing to risk huge sums and sometimes their own lives in pursuit of the rare, exotic and desirable. Their ambitions fuelled a new view of the world - initiating a long era of trade and empire, the consequences of which we still live with today.

Een serie schitterende prentbiefkaarten in kleur die rond de eeuwwisseling gemaakt zijn, vormt het begin van onze reis door de twintigste eeuw.
Beelden uit de tussenliggende tijd en kleurenfoto's van nu maken dit drieluik compleet.
Een goede plattegrond, waarin de ouge en de nieuwe situatie zo herkenbaar mogelijk door elkaar afgebeeld worden, is een belangrijke reisleider.