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[null,"1.","Record Nr.",null,"UNINA9910463102903321"]
[null,null,"Autore",null,"Guénoun Denis <1946->"]
[null,null,"Titolo",null,"About Europe [[electronic resource] ] : philosophical hypotheses / / Denis Guénoun ; translated by Christine Irizarry"]
[null,null,"Pubbl/distr/stampa",null,"Stanford, Calif., : Stanford University Press, 2013"]
[null,null,"ISBN",null,"0-8047-8558-9"]
[null,null,"Descrizione fisica",null,"1 online resource (353 p.)"]
[null,null,"Collana",null,"Cultural Memory in the Present"]
[{"$nulls":4},"Cultural memory in the present"]
[null,null,"Disciplina",null,"940.01"]
[null,null,"Soggetti",null,"PHILOSOPHY / General"]
[{"$nulls":4},"Electronic books."]
[{"$nulls":4},"Europe History Philosophy"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","\"Originally published in French under the title Hypothèses sur l'Europe: Un essai de philosophie.\""]
[null,null,"Nota di contenuto",null,"pt. I. Europe crossways -- pt. II. On national revolution -- pt. III. Transports of origin -- pt. IV. No returns."]
[null,null,null,"Sommario/riassunto","The concept of the universal was born in the lands we now call Europe, yet it is precisely the universal that is Europe's undoing. All European politics is caught in a tension: to assert a European identity is to be open to multiplicity, but this very openness could dissolve Europe as such. This book reflects on Europe and its changing boundaries over the span of twenty centuries. A work of philosophy, it consistently draws on concrete events. From ancient Greece and Rome, to Christianity, to the Reformation, to the national revolutions of the twentieth century, what we today call \"Europe\" has been a succession of projects in the name of ecclesia or community. Empire, Church, and EU: all have been constructed in contrast to an Oriental \"other.\" The stakes of Europe, then, are as much metaphysical as political. Redefining a series of key concepts such as world, place, transportation, and the common, this book sheds light on Europe as process by engaging with the most significant philosophical debates on the subject, including the work of Marx, Husserl, Heidegger, Patočka, and Nancy."]
[null,"2.","Record Nr.",null,"UNINA9910145623203321"]
[null,null,"Titolo",null,"2006 Annual Pulp and Paper Industry Technical Conference"]
[null,null,"Pubbl/distr/stampa",null,"[Place of publication not identified], : I E E E, 2006"]
[null,null,"ISBN",null,"9781509092727"]
[{"$nulls":4},"1509092722"]
[null,null,"Descrizione fisica",null,"1 online resource (165 pages)"]
[null,null,"Disciplina",null,"676"]
[null,null,"Soggetti",null,"Mechanical Engineering"]
[{"$nulls":4},"Industrial & Management Engineering"]
[{"$nulls":4},"Engineering & Applied Sciences"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Bibliographic Level Mode of Issuance: Monograph"]
[null,"3.","Record Nr.",null,"UNINA9910960195003321"]
[null,null,"Autore",null,"Brodskai͡a N. V (Natalʹi͡a Valentinovna)"]
[null,null,"Titolo",null,"Claude Monet / / Nathalia Brodskaia und Nina Kalitina"]
[null,null,"Pubbl/distr/stampa",null,"New York, : Parkstone International, [2011]"]
[null,null,"ISBN",null,"1-283-95415-X"]
[{"$nulls":4},"1-78042-024-2"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (200 p.)"]
[null,null,"Collana",null,"Best of"]
[null,null,"Disciplina",null,"759.4"]
[null,null,"Soggetti",null,"Painters - France"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Inhalt; Die Anfänge des Impressionismus; Claude Monet - Die Person; Die Jugendjahre; Die formativen Jahre; Von der Figurenmalerei zur Landschaftsmalerei; Die erste Impressionistische Ausstellung; Die Argenteuil-Periode; Vom Einzelbild zur Serie; Kunstrezeption in Russland; Biografie; Bibliografie; Abbildungsverzeichnis"]
[null,null,null,"Sommario/riassunto","Als Impressionist zu gelten war fur Monet eine Auszeichnung. Er war es aus tiefer Uberzeugung und blieb es bis an das Ende seines langen Lebens. Er begnugte sich mit einem einzigen Genre, dem der Landschaftsmalerei. Hier aber brachte er es zu einer Vollkommenheit, an die keiner seiner Zeitgenossen heranreichte. Im Sommer jenes Jahres kam es zu gemeinsamen Malubungen mit Boudin (1824 bis 1898) am Meeresstrand. Mit der Zeit gingen mir die Augen auf und ich begann, die Natur zu verstehen; zugleich lernte ich, sie zu lieben so erinnert sich Monet spater an diese gemeinsamen Exerzitien. Er besucht nicht die Ecole des Beaux-Arts, sondern zieht die von Monsieur Suisse, einem ehemaligen Modell Davids, gegrundete freie Academie Suisse vor. Hier war es moglich, fur einen geringen Beitrag lebende Modelle zu malen und zu zeichnen. Die Farbskala der Bilder, die Monet 1871 und 1872 malte, ist nicht sehr breit; sie erinnert an die der Barbizon-Schule und an die Seestucke Boudins. Die Grundtone sind braungelb und blaugrau. Im Jahr 1877 wurde die dritte Ausstellung der Impressionisten eroffnet, bei der Monet zum ersten Mal eine Bilderserie zeigte. Mit seinem Motiv, dem Bahnhof Saint-Lazare, setzte Monet nicht nur Manets Die Eisenbahn und seine eigenen Landschaftsbilder aus Argenteuil fort, er schloss sich daruber hinaus der bei den Kunstlern wachsenden Tendenz an, sich von diesem Transportmittel "]
[{"$nulls":4},"faszinieren zu lassen. In seinem Wohnort Giverny wurden die Bilderserien Monets wichtigste Arbeitsmethode. In den 1890er Jahren entdeckte Monet London. Zwar begann er die Bilder allesamt in London, beendete viele von ihnen aber in Giverny. Fur den Schriftsteller Octave Mirbeau (1848 bis 1917) war Monet ein Mensch, der Wunder vollbrachte: Mit Hilfe der Farben habe er auf der Leinwand das Sonnenlicht, etwas nahezu Unfassbares, nachgebildet und es um eine Unzahl prismatischer Facetten bereichert. Tatsachlich hat Monet das Potenzial der Farbe mit nahezu wissenschaftlicher Strenge bis zu seinen aussersten Konsequenzen getrieben; kein anderer Impressionist ist darin so weit gegangen wie er, und es ist wenig wahrscheinlich, dass man in dieser Richtung hatte noch weitergehen konnen.\""]