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Architect Albert Frey (1903–1998) saw a modernist utopia in the desert. Born in Zurich, he studied in Europe with Le Corbusier before moving to the United States in 1930, convinced it was the land of architectural opportunity. On a visit to Palm Springs, he fell under the desert spell. It was here, amid the arid and empty landscape, that he could truly envisage a perfect modern future.

Like fellow Californian luminary, John Lautner, Frey would spend the rest of his career nurturing the consonance of architecture and nature: studying the fall of sunlight and rain, and merging aluminum, steel, and glass with the boulders and sands of the West Coast wilds. His vision centered in particular on Palm Springs, capitalizing on the city’s postwar population boom to create a bastion of the sleek, leisurely modernism that defines midcentury California.

In this dependable architect introduction, we follow Frey’s long and prestigious career from his European beginnings through to the apogee of his Californian practice, taking in his notes on De Stijl, Le Corbusier, and Bauhaus, and exploring the stylistic, material, and geographic makings of his unique “desert modernism.”

Architect Albert Frey (1903–1998) saw a modernist utopia in the desert. Born in Zurich, he studied in Europe with Le Corbusier before moving to the United States in 1930, convinced it was the land of architectural opportunity. On a visit to Palm Springs, he fell under the desert spell. It was here, amid the arid and empty landscape, that he could truly envisage a perfect modern future. Like fellow Californian luminary, John Lautner, Frey would spend the rest of his career nurturing the consonance of architecture and nature: studying the fall of sunlight and rain, and merging aluminum, steel, and glass with the boulders and sands of the West Coast wilds. His vision centered in particular on Palm Springs, capitalizing on the city’s postwar population boom to create a bastion of the sleek, leisurely modernism that defines midcentury California. In this dependable architect introduction, we follow Frey’s long and prestigious career from his European beginnings through to the apogee of his Californian practice, taking in his notes on De Stijl, Le Corbusier, and Bauhaus, and exploring the stylistic, material, and geographic makings of his unique “desert modernism.”

In chronicling the life and career of Albert Gore, Sr., historian Anthony J. Badger seeks not just to explore the successes and failures of an important political figure who spent more than three decades in the national eye—and whose son would become Vice President of the United States—but also to explain the dramatic changes in the South that led to national political realignment.

Born on a small farm in the hills of Tennessee, Gore served in Congress from 1938 to 1970, first in the House of Representatives and then in the Senate. During that time, the United States became a global superpower and the South a two party desegregated region. Gore, whom Badger describes as a policy-oriented liberal, saw the federal government as the answer to the South's problems. He held a resilient faith, according to Badger, in the federal government to regulate wages and prices in World War II, to further social welfare through the New Deal and the Great Society, and to promote economic growth and transform the infrastructure of the South.

Gore worked to make Tennessee the "atomic capital" of the nation and to protect the Tennessee Valley Authority, while at the same time cosponsoring legislation to create the national highway system. He was more cautious in his approach to civil rights; though bolder than his moderate Southern peers, he struggled to adjust to the shifting political ground of the 1960s. His career was defined by his relationship with Lyndon Johnson, whose Vietnam policies Gore bitterly opposed. The injection of Christian perspectives into the state's politics ultimately distanced Gore's worldview from that of his constituents. Altogether, Gore's political rise and fall, Badger argues, illuminates the significance of race, religion, and class in the creation of the modern South.

In chronicling the life and career of Albert Gore, Sr., historian Anthony J. Badger seeks not just to explore the successes and failures of an important political figure who spent more than three decades in the national eye—and whose son would become Vice President of the United States—but also to explain the dramatic changes in the South that led to national political realignment.

Born on a small farm in the hills of Tennessee, Gore served in Congress from 1938 to 1970, first in the House of Representatives and then in the Senate. During that time, the United States became a global superpower and the South a two party desegregated region. Gore, whom Badger describes as a policy-oriented liberal, saw the federal government as the answer to the South's problems. He held a resilient faith, according to Badger, in the federal government to regulate wages and prices in World War II, to further social welfare through the New Deal and the Great Society, and to promote economic growth and transform the infrastructure of the South.

Gore worked to make Tennessee the "atomic capital" of the nation and to protect the Tennessee Valley Authority, while at the same time cosponsoring legislation to create the national highway system. He was more cautious in his approach to civil rights; though bolder than his moderate Southern peers, he struggled to adjust to the shifting political ground of the 1960s. His career was defined by his relationship with Lyndon Johnson, whose Vietnam policies Gore bitterly opposed. The injection of Christian perspectives into the state's politics ultimately distanced Gore's worldview from that of his constituents. Altogether, Gore's political rise and fall, Badger argues, illuminates the significance of race, religion, and class in the creation of the modern South.

Albert Kahn is probably the most important industrial architect of the 20th century. With his factory for the Ford T-models, designed for mass production, he found himself at the beginning of modern industrial architecture. His industrial buildings inspired the architects of European Modernism. They were the examples by which the structural rationality of Kahn’s industrial developments became the guiding principle for the New Building movement up until today.

The unrivalled monograph with its numerous photographs, plan layouts, site plans, and virtual 3D models comprehensively documents the buildings of Albert Kahn, which he was able to construct in a very short time due to his system-based working method – in the USA but also in the Soviet Union, Brazil, Sweden, France, China, Japan, and Australia.

Albert Kahn ist der wohl bedeutendste Industriearchitekt des 20. Jahrhunderts. Mit seiner Fabrik für Fords T-Modell, entworfen für die Massenfertigung, stand er am Anfang des modernen Industriebaus. Das Erscheinungsbild seiner Industriehallen begeisterte die Architekten der europäischen Moderne. Über sie wurde die strukturelle Rationalität von Kahns Industrieanlagen vorbildgebend für das Neue Bauen bis in die heutige Zeit.

Die konkurrenzlose Monographie dokumentiert mit zahlreichen Fotos, Grundrissen, Lageplänen und virtuelle 3D-Modellen umfassend die Bauten Albert Kahns, die er aufgrund seiner systematisierten Arbeitsweise in kürzester Zeit errichtete: in den USA, aber auch in der Sowjetunion, Brasilien, Schweden, Frankreich, China, Japan und Australien.

Winner, 2023 Best Book Award, Italian Association for the History of Economic Thought

One of the most original social scientists of the twentieth century, Albert O. Hirschman led an uncommonly dramatic life. After fleeing Nazi Germany as a youth, he fought in the Spanish Civil War, took part in antifascist activities in Italy, and organized an underground rescue operation in Marseille through which more than 2,000 people, including Marc Chagall, Arthur Koestler, and Hannah Arendt, escaped Europe. Hirschman moved across topics, methodologies, and disciplinary boundaries as fluidly as he did among countries and languages. His work is marked by a deep suspicion of all-encompassing theories, valuing instead doubt and a sensitivity to contingencies and unexpected consequences.

In this intellectual biography, the economic historian Michele Alacevich explores the development and trajectory of Hirschman’s characteristic approach to social-scientific questions. He traces the many strands of Hirschman’s thought and their place in his multifaceted body of work, considering their limitations as well as their strengths. Alacevich puts Hirschman’s ideas into context, following his participation in the major intellectual and political debates of his times. He examines Hirschman’s pioneering work in development studies and his analyses of social change, the history of capitalism, and the workings of democracy alongside his activities in the postwar reconstruction of Europe and economic development in Latin America. A compelling intellectual portrait of a profoundly distinctive thinker, this book also reflects on Hirschman’s legacy and lasting influence.

Winner, 2023 Best Book Award, Italian Association for the History of Economic Thought

One of the most original social scientists of the twentieth century, Albert O. Hirschman led an uncommonly dramatic life. After fleeing Nazi Germany as a youth, he fought in the Spanish Civil War, took part in antifascist activities in Italy, and organized an underground rescue operation in Marseille through which more than 2,000 people, including Marc Chagall, Arthur Koestler, and Hannah Arendt, escaped Europe. Hirschman moved across topics, methodologies, and disciplinary boundaries as fluidly as he did among countries and languages. His work is marked by a deep suspicion of all-encompassing theories, valuing instead doubt and a sensitivity to contingencies and unexpected consequences.

In this intellectual biography, the economic historian Michele Alacevich explores the development and trajectory of Hirschman’s characteristic approach to social-scientific questions. He traces the many strands of Hirschman’s thought and their place in his multifaceted body of work, considering their limitations as well as their strengths. Alacevich puts Hirschman’s ideas into context, following his participation in the major intellectual and political debates of his times. He examines Hirschman’s pioneering work in development studies and his analyses of social change, the history of capitalism, and the workings of democracy alongside his activities in the postwar reconstruction of Europe and economic development in Latin America. A compelling intellectual portrait of a profoundly distinctive thinker, this book also reflects on Hirschman’s legacy and lasting influence.

The paintings of Albert Oehlen live by audacious strategies, by questioning the image and the rules of abstraction, and by an openness and beauty often reached through the unlikeliest of means.

In this expansive monograph, we meet the full range of Oehlen’s artistic thoughts and approaches: paintings that integrate mirrors, paintings that are executed strictly in primary colors or only in gray, heavily pixelated paintings produced with the help of one of the first personal computers. We find collaged fragments of garish poster ads on canvases that transforming screaming slogans into abstract elements, charcoal drawings the size of a wall, finger paintings, and paintings in which black treelike silhouettes contort themselves into a lexicon of abstract forms. Throughout, Oehlen transforms the conceptual into the compositional, at once invigorating and challenging the viewer.

Revising and updating TASCHEN’s previous Collector’s Edition, this revelatory survey explores Oehlen’s trajectory from his early days up to the present. It features more than 400 paintings as well as insightful commentaries and interviews, covering Oehlen’s different work stages and approaches. Roberto Ohrt’s essay takes us back to the special vibe of the early 1980s where Oehlen worked alongside Kippenberger, Büttner, and others, part of a scene that painted quickly and close to the pulse of time. Oehlen discusses his computer paintings with John Corbett, and follows up on his more recent work, his thoughts on art, and his day in the studio in a lengthy conversation with Alexander Klar. Together with a collection of shorter texts and statements, this brings us close to the ideas of an artist who has been dubbed “the most resourceful abstract painter alive.”

Der Turkologe, Archäologe und Ethnologe Albert von Le Coq (1860-1930) gehört zu den Begründern der modernen manichäologischen Forschung. Erstmals liegt eine kommentierte Edition seiner Briefe an den Wissenschaftskollegen Willi Bang Kaup aus den Jahren 1909-1914 vor. Sie gibt Aufschluss über Le Coqs Rolle als Erwecker Manis und ist ein eindrückliches Zeugnis über den Forschungsbetrieb und die Museumsarbeit in den Jahren vor dem Ersten Weltkrieg.

Albertanus of Brescia is an important figure in the cultural history of late medieval and Renaissance Italy. He is best known among literary scholars for the influence of his writings on Brunetto Latini, John Gower, and Geoffrey Chaucer. In addition, his sermons have received attention as part of the history of lay confraternities and lay preaching in the twelfth and thirteenth centuries. James M. Powell shows that Albertanus's contributions considerably surpass even these notable attainments.

Powell contends that Albertanus was an original social theorist who drew on his experience with religious confraternities and with the law to develop a theory of consent. Albertanus developed the idea that society rested on voluntary acceptance of a rule, much as did religious life. This acceptance laid the foundation for social cohesion and legal enforcement. Albertanus's ideas were to find great prominence in the later Middle Ages. Powell's purpose in writing Albertanus of Brescia goes beyond the study of his eponymous subject. Through Albertanus, Powell examines how major developments of the twelfth century began to find expression in the mind of an early thirteenth-century secular thinker. In Albertanus, Powell perceives an individual bringing received, bookish authority into confrontation with lived experience. To Powell, the example of Albertanus suggests a much more complex picture of medieval approaches to social theory than that previously evident in the literature.

This is the first book-length study of Albertanus and his works. It will be of particular interest to students and scholars of medieval, Italian, intellectual, and literary history, and political theory.

Albertanus of Brescia is an important figure in the cultural history of late medieval and Renaissance Italy. He is best known among literary scholars for the influence of his writings on Brunetto Latini, John Gower, and Geoffrey Chaucer. In addition, his sermons have received attention as part of the history of lay confraternities and lay preaching in the twelfth and thirteenth centuries. James M. Powell shows that Albertanus's contributions considerably surpass even these notable attainments.

Powell contends that Albertanus was an original social theorist who drew on his experience with religious confraternities and with the law to develop a theory of consent. Albertanus developed the idea that society rested on voluntary acceptance of a rule, much as did religious life. This acceptance laid the foundation for social cohesion and legal enforcement. Albertanus's ideas were to find great prominence in the later Middle Ages. Powell's purpose in writing Albertanus of Brescia goes beyond the study of his eponymous subject. Through Albertanus, Powell examines how major developments of the twelfth century began to find expression in the mind of an early thirteenth-century secular thinker. In Albertanus, Powell perceives an individual bringing received, bookish authority into confrontation with lived experience. To Powell, the example of Albertanus suggests a much more complex picture of medieval approaches to social theory than that previously evident in the literature.

This is the first book-length study of Albertanus and his works. It will be of particular interest to students and scholars of medieval, Italian, intellectual, and literary history, and political theory.

A new introduction to the groundbreaking work of one of Latin America’s major Marxist thinkers, Alberto Flores Galindo (1949-1990).

Written by two specialists in Peruvian history, this book introduces English readers to his life and work. Flores Galindo wrote several important books on Andean utopianism, José Carlos Mariátegui, subaltern Lima, and more. He also participated in fiery debates on the left about Marxism, democracy, and socialism. In this book, authors cover many of his major topics and contributions, including Peru's rupture with Spanish colonialism, his role as a Marxist public intellectual, his relationship with the Cuban Revolution, the Shining Path and human rights, and his passion for literature.

“Deeply psychological and mysterious, the book will stimulate the imagination of the reader's mind to the extreme.” —Marina Abramovic

“In his latest novel, Jodorowsky builds on his multi-decade long assault of the public imagination…. a fantastical and genre-defying parable of love and friendship…. At its core, Albina and the Dog-Men is a love story about two people committed to one another's survival and to discovering their potential. And, as with life, it is sometimes only through the weathering of a storm that our true capacities are made clear.” —NPR Books

When two women—an amnesiac goddess and her protector, a leather-tough woman called Crabby—arrive in a Chilean desert town, Albina’s otherworldly allure and unfettered sensuality turn men into wild beasts. Chased by a clubfooted corrupt cop, evil corporate overlords, giant-hare-riding narcos, and Himalayan cultists, Albina and Crabby must find a magical cactus that will cure Albina and the men’s monstrous affliction before the town consumes itself in an orgy of lust and violence.

Albina and the Dog-Men is Alejandro Jodorowsky’s darkly funny, shocking, and surreal hybrid of mystical folktale, road novel, horror story, and social parable, ultimately uniting in a universal story of love against the odds and what makes us human.

“Deeply psychological and mysterious, the book will stimulate the imagination of the reader's mind to the extreme.” —Marina Abramovic

“In his latest novel, Jodorowsky builds on his multi-decade long assault of the public imagination…. a fantastical and genre-defying parable of love and friendship…. At its core, Albina and the Dog-Men is a love story about two people committed to one another's survival and to discovering their potential. And, as with life, it is sometimes only through the weathering of a storm that our true capacities are made clear.” —NPR Books

When two women—an amnesiac goddess and her protector, a leather-tough woman called Crabby—arrive in a Chilean desert town, Albina’s otherworldly allure and unfettered sensuality turn men into wild beasts. Chased by a clubfooted corrupt cop, evil corporate overlords, giant-hare-riding narcos, and Himalayan cultists, Albina and Crabby must find a magical cactus that will cure Albina and the men’s monstrous affliction before the town consumes itself in an orgy of lust and violence.

Albina and the Dog-Men is Alejandro Jodorowsky’s darkly funny, shocking, and surreal hybrid of mystical folktale, road novel, horror story, and social parable, ultimately uniting in a universal story of love against the odds and what makes us human.

Desde la invasión norteamericana hasta los albores de una nueva identidad política, una saga familiar de tradición y cambio, en donde lo único que perdura es el amor.

El año 1898 despunta con una España en el ocaso de su imperio. En Puerto Rico, la más pequeña de sus colonias, la expansión norteamericana avanza con rapidez vertiginosa y a su paso se desvanecen las esperanzas de una solución simple. Sin ser consultada por perdedor o ganador, la isla pasa de ser colonia española a territorio estadounidense. A partir de la amistad entre dos soldados del ejército de Estados Unidos cuyos destinos se entrelazan con el de Puerto Rico, se despliega la historia de la familia Ramos, que, aunque se aferra todavía a su herencia española, comienza a forjar lazos con los norteamericanos. Con cada nueva generación, los Ramos luchan por conservar su lugar en una sociedad que evoluciona rápidamente. Sus amores y tragedias, sus triunfos y sus pérdidas reflejan el anhelo de un pueblo que intenta definir su propio destino.

Alborada es una novela histórica basada en hechos reales, pero es, sobre todo, una historia del amor a la familia y a la identidad de un pueblo.

ENGLISH DESCRIPTION

From the U.S. invasion to the dawn of a new political identity, a family saga of tradition and change, where love is the only thing that endures.

The year 1898 marks the twilight of Spain’s empire. In Puerto Rico, its smallest colony, American expansion moves at a dizzying pace, and hopes for a simple solution fade away. Without being consulted by victor or vanquished, the island shifts from Spanish colony to U.S. territory. Through the friendship of two U.S. Army soldiers whose fates become entwined with Puerto Rico’s, the story of the Ramos family unfolds. Though they cling to their Spanish heritage, they begin forging ties with the Americans. With each new generation, the Ramos family fights to preserve their place in a rapidly evolving society. Their loves and tragedies, triumphs and losses reflect the yearning of a people striving to define their own destiny.

Alborada is a historical novel based on real events, but above all, a story about love—for family and for a people’s identity.

Kunstmuseum Basel’s Kupferstichkabinett is home to a unique collection of drawings by late 15^th and early 16^th century German masters. Conceived as a scholarly catalogue, this publication is devoted to a particularly important part of the collection: drawings by Albrecht Dürer and his circle. That circle included those artists who worked in Dürer’s workshop or had an affinity with him artistically: Hans Baldung Grien, Hans Schäufelin, Hans von Kulmbach, Hans Springinklee and Hans Leu the Younger. Most of the works come from the collection of Basel-based lawyer Basilius Amerbach (1533-1591), which was acquired from Amerbach’s heirs by the city of Basel in 1661.

• Seminal work on the art of drawing during the German Renaissance
• First scholarly and systematic publication of key works from Basel’s Kupferstichkabinett

Das hier erstmals vorgelegte Dresdner Dürer-Manuskript bildet eine Ergänzung zur Gesamtedition von Dürers Proportionslehre (1528). Es handelt sich um eine Vorstufe des Werks von 1523, das Dürer, wie er selbst mitteilt, „gebessert" habe. Die Ausgabe enthält den bereits in einer Transkription vorliegenden Text, der hier zwecks aktualisiertem Verständnisses in heutiges Deutsch übertragen ist, mit wortphilologischen Anmerkungen und Kommentaren, ferner einen Katalog der bislang unpublizierten Zeichnungen und ein Fazit. Das Studium des Manuskriptes erhärtet erneut die Annahme, dass es Dürer weniger um ein Künstlerhandbuch ging denn um seine Priorität als Autor eines wissenschaftlichen Werkes zur darstellenden Anthropometrie, mit dem er seine Künstlerlaufbahn zu krönen gedachte.

Dürers schriftliches Hauptwerk "Vier Bücher von menschlicher Proportion", erschienen in Nürnberg 1528, gilt als eines der herausragenden Quellenwerke zur Kunst und Kunsttheorie der europäischen Renaissance. Es besitzt als Druckwerk zugleich die Priorität vor allen im Range vergleichbaren Arbeiten; denn die entsprechenden Schriften und Projekte Albertis und Leonardos blieben in ihrer Epoche ungedruckt. Während deren Schriften inzwischen (oft mehrfach) ediert und kommentiert vorliegen, verharrt Dürers theoretisches Opus magnum noch immer im Status von 1528. Außer bloßen Nachdrucken des Originals, sämtlich ohne Einführung, Übersicht und Kommentar, blieb das Werk vollständig ungesichtet und unerforscht. Die vorgelegte Ausgabe der Dürer’schen Proportionslehre umfasst, neben der Wiedergabe des Originals und einem buchkundlichen Kapitel, in der Hauptsache dessen Übertragung aus dem Frühneuhochdeutschen in heutiges Deutsch. Die im Zuge der Übertragung festgestellten Fehler und Unstimmigkeiten aller Art, die nötigen Wort- und Bedeutungsnachweise sowie alle möglichen den Text und die Illustrationen betreffenden Verständnisfragen sind im Rahmen der ‚Umdeutschung’ dokumentiert. Neben die textliche Erschließung des Werks tritt seine inhaltliche Inspektion im anschließenden Kommentar, der Schritt für Schritt mit dem Katalog der insgesamt 150 Buchillustrationen verschränkt ist. Dabei geht es erstmals nicht vorrangig um die ‚Philosophie’ der "Menschlichen Proportion" und deren antike, mittelalterliche und italienische Hintergründe, sondern um die werkimmanente Perspektive: Verständnisfragen, interne Bezüge, externe Beziehungen, Widersprüche, Probleme, auch sachliche Irrtümer. Neben einer zusammenfassenden Charakterisierung des Werks folgt eine Auswertung dessen, was der Autor das "Messen" nennt: der Messdaten, ihrer Gewinnung und ihrer Modalitäten. Die dabei zutage tretenden Resultate widersprechen der landläufigen Annahme, das Proportionswerk basiere auf empirischen Erhebungen an lebenden Menschen. Dürers Maße verdanken sich nach Lage der Dinge nicht dem Abmessen, sondern dem Zumessen und sind damit letztlich Ausdruck eines spekulativ schöpferischen Umgangs mit der menschlichen Figur. Der abschließende Blick auf die Wirkung des Werks hat zwischen seiner deutschen und lateinischen Version zu unterscheiden, die wesentlich verschiedene kulturelle Wege genommen haben, wobei seine Rezeption weit mehr den akademischen Proportions-Diskursen als der künstlerischen Praxis zugute kam. So war Dürers Proportionswerk zwar kaum den Künsten dienlich, wofür es gedacht war, wurde aber zur nachgerade unerschöpflichen Quelle und Richtschnur für anthropometrische Zwecke unterschiedlichster Art sowie zum Bild- und Ideengeber der darstellenden Anthropometrie: immer dort, wo es um Berücksichtigung menschlicher körperlicher Faktoren in Arbeitswelt, Industrie sowie Produkt- und Raumgestaltung geht.

Albrecht Dürers Kasseler Bildnis der Elsbeth Tucher gehört paradoxerweise sowohl zu den bekanntesten als auch zu den am wenigsten erforschten Porträts der altdeutschen Kunst. Der vielfältigen Geschichte, die sich hinter dem prominenten Gesicht auf dem früheren 20 D-Mark Schein verbirgt, geht die vorliegende Publikation auf verschiedenen Ebenen nach. Sie berichtet zum einen von der bedeutenden Nürnberger Patrizierfamilie der Tucher und der bürgerlichen Gedächtniskultur um 1500, in die sich das Kasseler Bildnis exemplarisch einreiht. Zum anderen von der Porträtmalerei in Deutschland, die zu jener Zeit an Popularität gewinnt, ihrer besonderen Nürnberger Ausprägung und Dürers Anfängen als renommierter Porträtmaler, innerhalb derer das Tucher-Bildnis eine spezielle Rolle einnimmt.

The painter and printmaker Albrecht Dürer is one of the most important figures of the German Renaissance. This book accompanies the first major exhibition of the Whitworth art gallery’s outstanding Dürer collection in over half a century. It offers a new perspective on Dürer as an intense observer of the worlds of manufacture, design and trade that fill his graphic art.

Artworks and artefacts examined here expose understudied aspects of Dürer’s art and practice, including his attentive examination of objects of daily domestic use, his involvement in economies of local manufacture and exchange, the microarchitectures of local craft and, finally, his attention to cultures of natural and philosophical inquiry and learning.

Die hier erstmals veröffentlichte Ethikvorlesung spiegelt die Theologie Albrecht Ritschls (1822 – 1889) zu jener Zeit wider, als er mit seinem Hauptwerk „Rechtfertigung und Versöhnung” (1870 – 74) zum bedeutendsten evangelischen Theologen in Deutschland aufgestiegen war. Sie lässt die Impulse erkennen, die von Ritschl her auf die systematische Theologie, die Kirchengeschichte und die Ökumenische Bewegung des 20. Jahrhunderts ausgegangen sind und bis heute ausgehen.