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Comparative literature --- Thematology --- History as a science --- Criticism [Historical ] --- Critique historique --- Geschiedenis en literatuur --- Geschiedenis en poëzie --- Geschiedenis in de literatuur --- Geschiedkundige methodologie --- Geschiedschrijving --- Geschiedschrijving--Methodologie --- Histoire dans la littérature --- Histoire et littérature --- Histoire et poésie --- Historical criticism --- Historical method --- Historical methodology --- Historiografie --- Historiographie --- Historiography --- Historische kritiek --- Historische methode --- Historische methodologie --- History and literature --- History and poetry --- History in literature --- History--Criticism --- Kritiek [Historische ] --- Literature and history --- Literatuur en geschiedenis --- Littérature et histoire --- Methodologie [Historische ] --- Methodology [Historical ] --- Poetry and history --- Poésie et histoire --- Poëzie en geschiedenis --- History --- Authorship --- Criticism --- Literature and history. --- History in literature. --- Historiography.

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Christian art and symbolism --- Romanticism in art --- Overbeck, Johann Friedrich, - 1789-1869. - Italia and Germania. --- Overbeck, Johann Friedrich, - 1789-1869

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In the wake of Glasgow's transformation in the nineteenth-century into an industrial powerhouse–the “Second City of the Empire”–a substantial part of the old town of Adam Smith degenerated into an overcrowded and disease-ridden slum. The Old Closes and Streets of Glasgow, Thomas Annan's photographic record of this central section of the city prior to its demolition in accordance with the City of Glasgow Improvements Act of 1866, is widely recognized as a classic of nineteenth-century documentary photography. Annan's achievement as a photographer of paintings, portraits and landscapes is less widely known. Thomas Annan of Glasgow: Pioneer of the Documentary Photograph offers a handy, comprehensive and copiously illustrated overview of the full range of the photographer's work. The book opens with a brief account of the immediate context of Annan's career as a photographer: the astonishing florescence of photography in Victorian Scotland. Successive chapters deal with each of the main fields of his activity, touching along the way on issues such as the nineteenth-century debate over the status of photography–a mechanical practice or an artistic one?–and the still ongoing controversies surrounding the documentary photograph in particular. While the text itself is intended for the general reader, extensive endnotes amplify particular themes and offer guidance to readers interested in pursuing them further.

Regions & Countries - Europe --- History & Archaeology --- Great Britain --- Annan, Thomas, --- Glasgow (Scotland) --- History --- Pictorial works. --- Streets --- Photographers --- Photography --- Documentary photography --- History. --- Photography, Documentary --- Avenues --- Boulevards --- Thoroughfares --- Glasgow --- Glaschu (Scotland) --- Glasgow (Strathclyde) --- Glasgo (Scotland) --- Artists --- Roads --- photography --- victorian scotland --- glasgow --- portraits --- thomas annan --- documentary --- landscapes --- Edinburgh --- Loch Katrine --- London

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"Princess Marie Adelheid of Lippe-Biesterfeld was a rebellious young writer who became a fervent Nazi. Heinrich Vogeler was a well-regarded artist who was to join the German Communist Party. Ludwig Roselius was a successful businessman who had made a fortune from his invention of decaffeinated coffee. What was it about the revolutionary climate following World War I that induced three such different personalities to collaborate in the production of a slim volume of poetry -- entitled Gott in mir -- about the indwelling of the divine within the human? Lionel Gossman's study situates this poem in the ideological context that made the collaboration possible. The study also outlines the subsequent life of the Princess who, until her death in 1993, continued to support and celebrate the ideals and heroes of National Socialism"--Publisher's description.

German poetry - 20th century -. --- National socialism and literature. --- Reuss-zur Lippe, Marie Adelheid, --- Literature and national socialism --- Lippe, Marie Adelheid Reuss-zur, --- Marie Adelheid, Prinzessin Reuss-zur Lippe, --- Zur Lippe, Marie Adelheid Reuss-, --- Konopath, Marie Adelheid --- Nazis --- German poetry --- Literature --- National socialists --- Fascists --- Socialists --- National socialism --- Neo-Nazis --- History and criticism. --- second world war --- german history --- european history --- nazism --- poetry --- national socialism --- world war ii --- german literature --- Adolf Hitler --- Christianity --- God --- Nordic race --- Völkisch movement --- 1900-1999 --- Germany. --- Alemania --- Ashkenaz --- BRD --- Bu̇gd Naĭramdakh German Uls --- Bundesrepublik Deutschland --- Deguo --- Deutsches Reich --- Deutschland --- Doitsu --- Doitsu Renpō Kyōwakoku --- Federal Republic of Germany --- Federalʹna Respublika Nimechchyny --- FRN --- Gėrman --- German Uls --- Germania --- Germanii︠a︡ --- Germanyah --- Gjermani --- Grossdeutsches Reich --- Jirmānīya --- KhBNGU --- Kholboony Bu̇gd Naĭramdakh German Uls --- Nimechchyna --- Repoblika Federalin'i Alemana --- República de Alemania --- República Federal de Alemania --- Republika Federal Alemmana --- Vācijā --- Veĭmarskai︠a︡ Respublika --- Weimar Republic --- Weimarer Republik --- Germany (East) --- Germany (West) --- Europe

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Originally published in 1963. Molière's plays rank among the great comic achievements in the history of the stage. Yet few attempts have been made to understand them as expressing the historical context of the author's time. Most frequently they have been interpreted from the point of view of purely literary history, while the characters have been seen as universal comic types. Lionel Gossman reappraises Molière's comedy in the light of historical experience and interprets it in terms of the conditions from which it emerged. He brings it into the mainstream of seventeenth-century French literature and shows that Molière was concerned with the same things that concerned Descartes, Corneille, Racine, or Pascal. Five comedies (Amphitryon, Dom Juan, Le Misanthrope, Le Tartuffe, and George Dandin) are studied in the first part of the book. A number of basic structures are found to be common to all of them, and these give the author his point of departure for the second part of the book. In the second part, Gossman examines Molière's position with respect to other major seventeenth-century French writers. The comic vision of Molière, Gossman argues, no less than the tragic vision of Pascal or of Racine, expresses a particular relation to the social structure of the time. The subject matter of Molière's comedy is thus, in the author's view, not universal human nature but the men and women of the society in which Molière lived. Indeed, Gossman goes on to argue that the development of society after Molière made it difficult, and in the end impossible, for later writers to see the world in the comic light that illuminated Molière's writing. Even in certain of Molière's own works, in fact, the comic vision shades into something close to Romantic irony.

French drama (Comedy) --- History and criticism. --- Moliere, --- Criticism and interpretation. --- Literary studies: c 1600 to c 1800