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The Illusion of Choice

This open access book offersa cultural history of lawsuits that traces the development of French performance rights from la Belle Époque, throughthe Roaring Twenties, and into thePost-War period. It does so by analysing the ways in which performers, composers, and playwrights took to French courtrooms, sought attention in mass media, and participated in political debates to claim their rights to create and control musical and theatrical performance. In 19th-century France, composers and playwrights organised in member-run societies that successfully used authors' rights legislation to curb the power of theatre managers. By the turn of the 20th century, these so-called collective management organisations had transformed French cultural industries by building out structures of royalty collection and improving litigation practices. From the café-concert culture in 19th-century Montmartre and the rise of modern celebrity culture, to mass media and radio entertainment, the book traces precedent-setting litigation that defined who creates and controls performance. The book challenges previous narratives that centre the individualisation of authors in the expansion of the international copyright regime while neglecting performers. Instead, it reveals the ways in which the personality and individuality of performers have played a constitutive role in discourses about genius, technology, and legal categories. Performance as Intellectual Property is for anyone interested in the emergence of modern European cultural industries and the relationships between intellectual property systems, creativity, and art. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com Open access was funded by the European Research Council.

The Rights of Performers, Composers and Playwrights in France 1890-1950

Performance as Intellectual Property

What does it mean to be governed and what does it mean to resist? Examining how communities form amidst social and political turbulence, this open access book presents four case studies that demonstrate the power of organic social formations over imposed order. Understanding this formation of community in terms of 'ungovernability' and a 'poetics of resistance',Ungovernable Spaces charts a movement from oppression, through transformation, into imagining, and finally emergence. Throughout the book, the authors engage methods of situated practice and related modes of writing and image-making to consider a range of global case studies: the destruction of the Mecca apartment building in Chicago's South Side in 1952, following a decade of resistance from the building's predominantly African American occupants; M.K. Gandhi's practices of social activism including the Salt March protest of 1930, and the daily practice of spinning and intermittent fasts; the Ciudad Abierta (Open City), a radical pedagogical experiment started by a poet and an architect in Valparaíso, Chile in 1970; and, finally, the urban ecologies developing on either side of Belfast's 'peace walls' in the wake of the Troubles and 1998's Good Friday Agreement. Structured via four spatial configurations - the grid, the charkha, the constellation, and the cluster -each case study explores community formation through artistic and aesthetic practices that resist and unsettle forms of hegemonic order. A truly interdisciplinary work at the intersection of poetry, art and spatial practice, Ungovernable Spaces argues for the importance of ethics, aesthetics, imagination and ecology in developing, of necessity, a new poetics of 'us.' The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by UKRI. AHRC Techne Doctoral Training Partnership Award [grant number AH/L503940/1].

Community Formation and the Poetics of Resistance

Ungovernable Spaces

Manufacture de hautbois

L'art du hautbois (Calendrier mural 2027 DIN A4 horizontal), CALVENDO calendrier mensuel

Vorzugsausgabe, handgebunden in Leinen inkl. 3 Prints (DIN A4)
 Gegené»šerstellung von Kupferstichen der zweiten Ausgabe (1820ï¿½44) und Lithografien der dritten Ausgabe (1897ï¿½05) der "Naturgeschichte der Vé°ƒel".
 

 Johann Friedrich Naumann (1780ï¿½56) war ein bedeutender deutscher Ornithologe und gilt als Begré»±der der Vogelkunde in Mitteleuropa. Fé»µ die 13-bé‹˜dige Ausgabe der "Naturgeschichte der Vé°ƒel Mitteleuropas", die unter dem Namen seines Vaters Johann Andreas 1820ï¿½44 erschien, zeichnete Johann Friedrich alle Vogeldarstellungen selbst nach der Natur.
 

 Die Neubearbeitung von Naumanns Naturgeschichte der Vé°ƒel Mitteleuropas in der sog. "Dritten Ausgabe 50 Jahre spé‹žer" wurde von namhaften Ornithologen é»šernommen. Die Texte Naumanns blieben unveré‹˜dert, Irrté»°er wurden in Fué�ªoten oder Zusé‹žzen zu neuen Forschungen berichtigt. Aué��rdem wurden neue beobachtete Arten aufgenommen. Sé‹—tliche Abbildungen wurden in neuem Format neu gezeichnet, da die Kupfertafeln verloren waren oder nicht mehr verwendet werden konnten: Die Vé°ƒel sollten nun in ihrem charakteristischen Lebensraum dargestellt werden.
 

 Der vorliegende Band pré‹�entiert eine fachkundige Auswahl von 90 Tafeln aus der 12-bé‹˜digen neuen Ausgabe (1897ï¿½05). Den Lithografien gegené»šergestellt sind die urspré»±glichen Kupferstiche aus Johann Friedrich Naumanns zweiter Ausgabe (1820ï¿½44).
 

 Alle Vé°ƒel sind entsprechend der Klassifikation und Nomenklatur Naumanns bezeichnet.
 

 

Mit drei Prints: Waldrapp, Buchfink, Rotspecht (DIN A4)

Kupferstiche und Lithografien von Johann Friedrich Naumann

Die Vögel Mitteleuropas (Luxusausgabe im Großformat)

NATIONAL BESTSELLER • LONGLISTED FOR THE BOOKER PRIZE • NEW YORK TIMES BOOK REVIEW EDITORS’ CHOICE • NAMED ONE OF THE MOST ANTICIPATED BOOKS OF FALL BY: The New York Times, Associated Press, Goodreads, NPR, Harper’s Bazaar, Los Angeles Times, and more A mesmerizing portrait of an aging man’s last pilgrimage, from the award-winning author of The Girls and The Guest. “Piercing and suspenseful.”—The Wall Street Journal “Bold . . . arresting . . . stylistically adventurous.”—The Boston Globe “Profoundly moving.”—The Guardian A private plane cuts through the winter night, somewhere over Greenland. David, a retired executive, sits back in his leather seat, playing solitaire on his phone. Click. Click. Drag. Click. The notebook in his jacket pocket is filled with familiar phrases, urgent reminders to himself, but he struggles to recognize his own handwriting. A mystery, among many mysteries. The world, once so knowable, has been rendered inscrutable. This is what David knows: Cody, his assistant, asleep in the seat next to him, will shepherd him along the voyage. A stopover in London. Dinner with his adult daughter. A meeting in France with an old friend, estranged for decades. His final destination is Zurich. David glides through hotel rooms and airports and foreign cities, running out the clock on his mortal life. His grasp on the present slips away, and the past rushes in: the Sunday roasts of childhood. The stiff clothes meant only for church. A summer at a school friend’s house. The losses and missteps that punctuate a life. As David’s arrival in Zurich looms, an exquisitely rendered portrait of an unraveling mind emerges, both darkly humorous and profoundly moving. Hypnotic and startlingly original, Switzy probes the depths of human consciousness, revealing what a man is left with when the accomplishments and compromises that have defined him, and the illusions he's relied on, vanish.

A Novel

Switzy

El Lissitzky (1890-1941), one of the most eminent figures of Soviet avant-garde art, had been in contact with the Swiss art scene and its like-minded protagonists since 1919. In 1924-25, he spent several months at a sanatorium in the Swiss canton of Ticino to treat his pulmonary tuberculosis. Despite the illness, he created key works in his oeuvre during this time, spanning the fields of architecture, graphic design and typography, and fine art. Together with Jean Arp, he wrote the book 
 Die Kunstismen
 ("The Artisms"), which was published by a Swiss publishing house in 1925 and became a milestone in the evolution of New Typography and graphic art in Switzerland. He also contributed to the Swiss architecture magazine 
 ABC, Beiträge zum Bauen.
 A century later, this book takes a fresh look at El Lissitzky from the perspective of his host country at the time, arranged in thematic chapters about architecture, typography, and graphic design, Lissitzky as an artist and theorist, and his relationship to Switzerland. The illustrations bring together for the first time all the important works by the great avant-gardist in the collections of Swiss museums, including parts of a previously unpublished portfolio held at the Musee d'art et d'histoire in Geneva.

El Lissitzky and Switzerland

Mit hinreißenden Motiven von Wolf Erlbruch, klar und großzügig gestaltet.
- 5 Spalten zum Eintragen
- mit Ferienterminen und Jahresüberblick

Wolf Erlbruchs Familienplaner 2027

This landmark collection provides new insights, concepts and techniques to understand and respond to tort claims based on illegal conduct. It is the first comparative study of this difficult field, which has remained contested despite numerous decisions of the highest courts in the common law world. The collection draws on scholars from common law and civilian jurisdictions spanning Argentina, Australia, Brazil, England and Wales, France, Germany, Italy, the Netherlands, Scotland, Singapore, Spain, South Africa and Sweden. Together they set out fact patterns, and justifications for tort liability to illustrate the coherence and unity that exists when courts address such claims. While common law legal systems have developed a specific defence of illegality for some of those fact patterns, civilian jurisdictions tend to see illegality operating, if at all, through the existing components of tort liability. The book explains how these different approaches have been reached, how they work, and what they reveal about reasoning in tort.

Comparative Lessons on Legal Reasoning

Understanding Tort Claims and Illegality

American painter James Howell found the subject of his art in the color gray. He explored the color's sensual variety diligently over decades. In 2022, the Josef Albers Museum in Bottrop dedicated an exhibition to Howell presenting his work in the context of Albers' paintings. This catalogue documents this remarkable artistic encounter and explores Howell's work in all its conceptual depth, transcending the seemlingly monothematic of the color gray. His paintings are meditations on the relationship between color and light, based on a refinement of painterly means that, despite their extreme reduction, allow for a paradoxical emphasis on expression.
 
 JAMES HOWELL (1935-2014) was an American artist who dedicated over five decades of his life to working with infinite gradations of gray. From 1968, he mainly created abstract paintings and exhibited them regularly on the West Coast of the United States. In 1983, he moved into a studio located on San Juan Island, WA, where he was surrounded by the continiously shifting grays in the sky, water, and light. This environment undoubtedly influenced his artistic production. In 1992, he moved to New York, where his signature style emerged in the 1990s with his 
 Series 10
 . This series explores gradations of gray, his interests in mathematics, physics, and philosophy. The artist's work transcends mere color and speaks to the interconnectedness of all things.

James Howell: Painting | Malerei

Verso's Southern Questions

In 1960, as the Algerian War for Independence entered its sixth year, 22-year-old Djamila Boupacha was arrested for allegedly planting a bomb in a university cafeteria. While in custody, she was tortured and raped by French soldiers. Her case would have been buried like countless others had it not been for the efforts of her lawyer, Gisèle Halimi, and the philosopher Simone de Beauvoir to transform it into an international cause célèbre. Djamila Boupacha is the culmination of this campaign to expose the systemic violence of colonial rule. "To protest in the name of morality against ‘excesses’ or ‘abuses,’" Beauvoir writes, "is an error which hints at active complicity. There are no ‘abuses’ or ‘excesses’ here, simply an all-pervasive system." More than a historical document, the book is a profound exploration of morality, complicity and resistance. A classic text of anticolonialism, this is a story that demands to be read—and remembered.

Djamila Boupacha

Certifi é Humain

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