This original work explores the increasingly important phenomenon of the formation of transnational identity. Considering the ongoing relevance of the European Union, the contributors ask a series of intriguing questions: Is a European identity possible? How are the various types of European identity formed and maintained? How are these identities linked to the process of European integration? Examining the psychological, institutional, and political mechanisms that encourage or impede identification with transnational groups, the book considers these theoretical questions in light of new evidence drawn from a rich body of primary research, including field experiments, in-depth interviews with elites, and public opinion surveys. Brought together for the first time, social psychologists, sociologists, political scientists, and ethnographers share their theoretical and methodological perspectives in tackling the common issues surrounding the emergence of "European" as a political identity. Paying special attention to the role of the institutions of the EU, the authors investigate the impact of neo-functionalist strategies and find that the processes of identity formation are far more complicated than can be explained by material and institutional factors alone. The authors engage in a fruitful dialogue about how much a European identity exists and how much it matters as they delve into the sources of disagreement and their implications.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Life Of Simon William Gabriel Brute by J.R. Bayley].; Foreign Missionary Series James Roosevelt Bayley (R.C. bp. of Newark, N.J.), Simon Guillaume G. Brute de Remur (bp. of Vincennes)

With Sketches Describing His Recollections Of Scenes Connected With The French Revolution, And Extracts From His Journal.

With Sketches Describing His Recollections Of Scenes Connected With The French Revolution, And Extracts From His Journal.

With Sketches Describing His Recollections Of Scenes Connected With The French Revolution, And Extracts From His Journal.

With Sketches Describing His Recollections Of Scenes Connected With The French Revolution, And Extracts From His Journal.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ L' Heroisme De L'amitie David Et Jonathas: Poeme En Quatre Chants: On Y A Joint Plusieurs Pieces, Tant En Vers Qu'en Prose, Sur Differens Sujets ... Brute de Loirelle Onfroy, 1781

The strength of a perfect pairing lies in more than just the individuality of its parts; it relies on the newness of what that pairing creates. When two of Athens, Georgia's most respected musical forces-- Vic Chesnuttand Widespread Panic--first came together in 1993 to form the extraordinary collective Brute, they found they had formed a powerhouse combination unachievable without each other--one so good that almost a decade later it yearns to live again. And so it does. On April 9, 2002, Widespread Records released Brute's second album, Co-Balt. Driven by Chesnutt's signature playful-yet-meaningful songwriting style (not to mention vocals and acoustic guitar), the eleven-song disc bears the indelible mark of producer John Keane(backing vocals, electric and acoustic guitar, pedal steel) and features the whole Widespread crew: Dave Schools(bass), Michael Houser(guitar), John Hermann(keyboards), Todd Nance(drums), John Bell(backing vocals, electric guitar) and Domingo Ortiz(percussion). Recording the rough mixes for Co-Baltin Keane's home studio over a three-day period in January of 2001, the Brute boys had no time to compose, let along rehearse. Vic made selections from his "trunk of songs" each day then the group simply hit record and played, a process not unlike their first collaboration, their 1995 debut Nine High A Pallet. While the in-the-moment approach was the same, the outcome this time was tighter, more concise, lending Co-Balta new maturity. It's quite a feat to top an album Entertainment Weeklycalled "...a compelling, rollicking disc" and CMJdubbed "a rare triumph," but it looks like they've done it. "It [ Co-Balt] has the Keane gloss to it," Schools comments, "but all the heaviness that Brute implies." Vic agrees, "It's slicker than the last one... This record is more pop. I see this one as more light-hearted with a couple of melancholy and dark numbers." But don't judge a tune by its tone alone. "Vic's good at hiding really dark lyrics behind happy chord changes," School points out. Co-Baltis cohesive, of course. Still, each song maintains its unique identity. "Scholarship" is the only song Vic wrote with this particular group of musicians in mind. "I wrote it right after we recorded the last Brute record. I thought of this great riff that would be perfect with Panic playing it." This is a compliment of the highest order for Schools, who unknowingly inspired yet another song, "Puppy Sleeps." Co-written by Schools, it's the only tune on the album not composed entirely by Chesnutt. "When we were rehearsing for a show, I had this riff and I heard Dave talking about his puppy," he explains, "I took pieces of his conversation. I thought it would make a great song." These are the kind of spontaneous moments that turn into music which make Brute its own being. "People are surprised at this pairing," House concedes. "Vic came from a different music angle than we did. We had a traditional rock 'n' roll background and Vic was part of the Athens punk/thrash scene." Somehow, the combination just works.

Achieving cult status is rarely an artist's initial goal, but in the case of Brute Force, born Stephen Friedland, it was inevitable. As the composer of the controversial oddity "King of Fuh" -- "in this land there was a king/and everybody called him the 'Fuh' king" -- a track that was championed by George Harrison and is officially the rarest single on the Beatles' Apple label, as well as the writer of hits for the Chiffons, Del Shannon, the Creation, and the Tokens -- he was a member of the latter -- the artist was by no means a stranger to the business. After debuting with the heavily arranged and orchestrated Confections of Love, Brute decided to cut the record that would cement him in the obscuro genre forever. The aptly titled Extemporaneous, recorded live in the studio with minimal piano accompaniment before a very small and enthusiastic audience, is an eccentric, meandering, and whimsically banal collection of comedy, folk, and improvisation that aims for profundity but ends up hitting novelty square in the jaw. Though he lacks William Shatner's bombast and agreeable narcissism, Brute's overwhelming sincerity is the only reason anything on the album works. With each burst of uncontrollable laughter at such generic double-entendres as "Uranus," Brute's excitement escalates, rushing from one topic to the next with lunatic zeal -- there is an element of narcotic giddiness to the audience's frequent and explosive giggles, like they just wandered in off of the street unaware, discovered it was happy hour, and politely stayed through to the end. Like Shel Silverstein, he peppers his stories, songs, and poems with mystical wit, the occasional political jab, and a whole lot of thinly veiled sexual innuendo -- this is the late '60s -- but lacks the poet's mischievous forked tongue and utopian prescience. Brute has a reputation for on-stage physicality, and there are moments here where the audience must be taking in a spectacle that listeners can only imagine, as there is nary a moment of quiet observation, but for the most part the whole affair is nearly impossible to connect with. Popular culture loves its jesters and Brute Force is more than happy to wear the funny hat, but the immediate experience provided by Extemporaneous is one of uncomfortable fidgeting -- not unlike listening to a Neil Hamburger stand-up routine -- and its success depends entirely on the listener's sense of the absurd and overall artistic stamina. In 2004, Rev-Ola reissued Extemporaneous with exhaustive liner notes from writer Steve Stanley and Brute himself, as well as five bonus tracks, including the singles "World...," "Tapeworm of Love," "Vicky," "Nobody Knows What's Goin' On in My Mind but Me," and the legendary "King of Fuh." ~ James Christopher Monger