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1. |
Record Nr. |
UNIBAS000038453 |
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Autore |
Schnitzler, Arthur |
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Titolo |
Anatol Anatols Grössenwahn Der grüne Kakadu / Arthur Schnitzler ; mit einem nachwort von gerhart Baumann |
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ISBN |
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Descrizione fisica |
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Collana |
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Universal Bibliothek ; 8399 |
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Materiale a stampa |
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Livello bibliografico |
Monografia |
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2. |
Record Nr. |
UNISA990001021360203316 |
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Autore |
KERSHAW, Jan |
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Titolo |
Hitler, 1936-1945 / Jan Kershaw ; traduzione di Alessio Catania |
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Pubbl/distr/stampa |
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Descrizione fisica |
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LIII, 1399 : ill. ; 24 cm |
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Soggetti |
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Hitler, Adolf |
Germania Storia 1936-1945 |
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Collocazione |
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X.3.B. 5137 (ISP II 1038) |
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Materiale a stampa |
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Livello bibliografico |
Monografia |
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3. |
Record Nr. |
UNINA9910158567803321 |
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Titolo |
Death, Resurrection, and Human Destiny : Christian and Muslim Perspectives / / edited by David Marshall and Lucinda Mosher |
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Pubbl/distr/stampa |
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Washington, District of Columbia : , : Georgetown University Press, , 2014 |
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©2014 |
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ISBN |
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Descrizione fisica |
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1 online resource (313 p.) |
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Disciplina |
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Soggetti |
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Christianity and other religions - Islam |
Islam - Relations - Christianity |
Eschatology |
Eschatology - Biblical teaching |
Islamic eschatology |
Electronic books. |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Cover; Contents; Participants; Acknowledgments; Introduction; Preface; Part I: Surveys; Death, Resurrection, and Human Destiny in the Bible; Response to N. T. Wright; Response to Reza Shah-Kazemi; Death, Resurrection, and Human Destiny: Qurānic and Islamic Perspectives; Response to Mona Siddiqui; Death, Resurrection, and Human Destiny in the Islamic Tradition; Response to Asma Afsaruddin; Death, Resurrection, and Human Destiny in the Christian Tradition; Response to Geoffrey Rowell; Dying Well: Christian Faith and Practice; Response to Harriet Harris |
A Muslim's Perspective on the Good Death, Resurrection, and Human DestinyDeath and the Love of Life: A Response to Sajjad Rizvi; Reflections; Part II: Texts and Commentaries; I Corinthians 15; St. Paul on the Resurrection: I Corinthians 15; Selected Qurānic Texts; Commentary on Selected Qurānic Texts; Selected Passages from al-Ghazālī's The Remembrance of Death and the Afterlife; Al-Ghazālī on Death; Selected Passages from Dante's The Divine Comedy; The |
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Afterlife as Presented by Dante Alighieri in The Divine Comedy; Selected Passages from Journey to the Afterlife; Muslim Funerals |
Contemporary Funeral Liturgy in the Church of EnglandChristian Funerals; Conversations in Canterbury; Afterword; Personal Reflections on Death; A Decade of Appreciative Conversation: The Building Bridges Seminar under Rowan Williams; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Z |
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Sommario/riassunto |
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Death, Resurrection, and Human Destiny: Christian and Muslim Perspectives is a record of the 2012 Building Bridges seminar for leading Christian and Muslim scholars, convened by Rowan Williams, then Archbishop of Canterbury. The essays in this volume explore what the Bible and Qur?an-and the Christian and Islamic theological traditions-have to say about death, resurrection, and human destiny. Special attention is given to the writings of al-Ghazali and Dante. Other essays explore the notion of the good death. Funeral practices of each tradition are explained. Relevant texts are included with c |
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4. |
Record Nr. |
UNINA9910166056703321 |
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Autore |
Deiss Mélanie-Chantal <p>Mélanie-Chantal Deiss, Universität Zürich, Schweiz </p> |
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Titolo |
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»Deeply Superficial« : Andy Warhols Amerika-Images der 1950er und 1960er als Kulturkritik / Mélanie-Chantal Deiss |
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Pubbl/distr/stampa |
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Bielefeld, : transcript Verlag, 2015 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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Collana |
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Classificazione |
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Disciplina |
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Soggetti |
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Andy Warhol |
Pop Art |
America |
Amerika |
Nachkriegszeit |
Post-war |
Kunst |
Art |
Kulturgeschichte |
Cultural History |
Amerikanische Kunst |
American Art |
Amerikanistik |
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American Studies |
Bildwissenschaft |
Visual Studies |
Kunstwissenschaft |
Fine Arts |
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Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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In place of the entanglement of person and work that so strongly marks the artistic work of Andy Warhol, and settles it in the usual Pop Art context, Mèlanie-Chantal Deiss locates it within the cultural context of America's post-war period. Viewed from this perspective, Warhol's work - which tends to be classified as superficial and ahistorical – exhibits unexpectedly serious engagements with concerns of the 1950s and 1960s. Throughout his image series, expressive, somewhat ambivalent narrative strands from America's post-war period unfurl, which transmit a concrete image, as a kind of written historical document. Warhol's visualized narration ultimately culminates in a cultural critique, which treats America not just as a stage of images, but also as site of contemplation of a cultural imaginary, in which art can critically and productively intervene. |
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Nota di contenuto |
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Frontmatter 1 Inhalt 5 Vorwort 7 Warhol made in USA 9 Amusement 57 Think Prosperity, Have Prosperity 133 Bold and Beautiful 187 TROUmatic 247 USA made by Warhol 295 Bibliografie und Abbildungsverzeichnis 317 Backmatter 329 |
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Sommario/riassunto |
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Anstatt die Verschränkung von Person und Werk, welche konsequent die künstlerische Arbeit von Andy Warhol prägt, im gängigen Kontext der Pop Art anzusiedeln, verortet Mélanie-Chantal Deiss sie im kulturellen Zusammenhang der Nachkriegszeit in Amerika. In Warhols Werk, das tendenziell als oberflächlich und ahistorisch eingestuft wird, zeichnen sich in dieser Perspektive unerwartet ernste Anliegen der 1950er und 1960er ab. Entlang von Warhols Bild-Serien entfalten sich aussagekräftige, teils ambivalente Erzählstränge zur Nachkriegszeit Amerikas, die ein konkreteres Bild als schriftliche Zeitdokumente vermitteln.Warhols visualisierte Narration kulminiert schließlich in einer Kulturkritik, die Amerika nicht nur als Schauplatz der Bilder behandelt, sondern auch als Ort des Nachdenkens, des kulturellen Imaginären, an welchem die Kunst kritisch produktiv interveniert. |
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