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Andrei Bely is best known for the modernist masterwork Petersburg,
a paradigmatic example of how modern writers strove to evoke the
fragmentation of language, narrative, and consciousness. In the
early twentieth century, Bely embarked on his life as an artist
with texts he called "symphonies"-works experimenting with genre
and sound, written in a style that shifts among prosaic, poetic,
and musical. This book presents Bely's four Symphonies-"Dramatic
Symphony," "Northern Symphony," "The Return," and "Goblet of
Blizzards"-fantastically strange stories that capture the banality
of life, the intimacy of love, and the enchantment of art. The
Symphonies are quintessential works of modernist innovation in
which Bely developed an evocative mythology and distinctive
aesthetics. Influenced by Russian Symbolism, Bely believed that the
role of modern artists was to imbue seemingly small details with
cosmic significance. The Symphonies depict the drabness of daily
life with distinct irony and satire-and then soar out of
turn-of-the-century Moscow into the realm of the infinite and
eternal. They conjure worlds that resemble our own but reveal
elements of artifice and magic, hinting at mystical truths and the
complete transfiguration of life. Showcasing the protean quality of
Bely's language and storytelling, Jonathan Stone's translation of
the Symphonies features some of the most captivating and beguiling
writing of Russia's Silver Age.
In the mid-sixties, John Robson and Christina Enroth-Cugell,
without realizing what they were doing, set off a virtual
revolution in the study of the visual system. They were trying to
apply the methods of linear systems analysis (which were already
being used to describe the optics of the eye and the psychophysical
performance of the human visual system) to the properties of
retinal ganglion cells in the cat. Their idea was to stimulate the
retina with patterns of stripes and to look at the way that the
signals from the center and the antagonistic surround of the
respective field of each ganglion cell (first described by Stephen
Kuffier) interact to generate the cell's responses. Many of the
ganglion cells behaved themselves very nicely and John and
Christina got into the habit (they now say) of calling them I
(interesting) cells. However. to their annoyance, the majority of
neurons they recorded had nasty, nonlinear properties that couldn't
be predicted on the basis of simple summ4tion of light within the
center and the surround. These uncoop erative ganglion cells, which
Enroth-Cugell and Robson at first called D (dull) cells, produced
transient bursts of impulses every time the distribution of light
falling on the receptive field was changed, even if the total light
flux was unaltered."
The study of neurotransmitters in the human brain has expanded
spectacularly in recent years with the application of techniques
from immunology and molecular biology. These techniques are now
being used successfully to help decipher the chemical architecture
of the human nervous system. The results of these studies are of
great importance for the understanding and treatment of
neurological and psychiatric disorders such as Alzheimer's,
Parkinson's and Huntington's diseases, as well as depression and
schizophrenia. Professor Istvan Tork was a pioneer in the chemical
anatomy of the brain and carried out important studies on the
neuroanatomy and distribution of neuropeptides and monoarnines in
the brain; some of his best known work dealt with the dual
innervation of the cortex by neurons containing serotonin. Istvan
Tork died on November 21, 1992, after a long struggle with a
temporal lobe glioma, leaving a profound legacy of friendship and
scholarly work 1. It was decided by the editors of this volume to
commemorate his work and the mentors hip he gave to his many
students by convening a symposium on neurotransmitters in the human
brain. The symposium was held at the University of New South Wales
on February 5, 1994, and was attended by over one hundred
participants, including many of Professor Tork's colleagues and
students. The papers from this symposium are presented in this
volume to stand as a tribute to the breadth and quality of his work
and to the energy and achievement of his students.
From bestselling author Jonathan Stone comes a pulse-pounding
thriller for the digital age that will make you question everything
that you have ever saved on your phone. What happens when you
inadvertently swap phones with a professional hit man? You're next.
Nineteen year-old Zack cannot believe his luck when he learns that
a man next to him at a coffee shop accidentally picked up the wrong
phone. He's even more surprised when he's able to open the phone
and discovers that his new phone-pal is actually a professional
killer. Trapped in a high-stakes cat-and-mouse game with a highly
trained assassin was definitely not how Zack planned to spend his
day. Knowing Zack has access to incriminating evidence makes Zack
the killer's next target, and with access to Zack's phone, the
hitman's job just got a whole lot easier.
Decadence and Modernism in European and Russian Literature and
Culture: Aesthetics and Anxiety in the 1890s rewrites the story of
early modernist literature and culture by drawing out the tensions
underlying its simultaneous engagement with Decadence and
Symbolism, the unsustainable combination of this world and the
other. With a broadly framed literary and cultural approach,
Jonathan Stone examines a shift in perspective that explodes the
notion of reality and showcases the uneasy relationship between the
tangible and intangible aspects of the surrounding world. Modernism
quenches a growing fascination with the ephemeral and that which
cannot be seen while also doubling down on the significance of the
material world and finding profound meaning in the physical and the
corporeal. Decadence and Symbolism complement the broader
historical trajectory of the fin de siecle by affirming the novelty
of a modernist mindset and offering an alternative to the empirical
and positivistic atmosphere of the nineteenth century. Stone seeks
to recreate a significant historical and cultural moment in the
development of modernity, a moment that embraces the concept of
Decadence while repurposing its aesthetic and social import to help
navigate the fundamental changes that accompanied the dawn of the
twentieth century.
Decadence and Modernism in European and Russian Literature and
Culture: Aesthetics and Anxiety in the 1890s rewrites the story of
early modernist literature and culture by drawing out the tensions
underlying its simultaneous engagement with Decadence and
Symbolism, the unsustainable combination of this world and the
other. With a broadly framed literary and cultural approach,
Jonathan Stone examines a shift in perspective that explodes the
notion of reality and showcases the uneasy relationship between the
tangible and intangible aspects of the surrounding world. Modernism
quenches a growing fascination with the ephemeral and that which
cannot be seen while also doubling down on the significance of the
material world and finding profound meaning in the physical and the
corporeal. Decadence and Symbolism complement the broader
historical trajectory of the fin de siecle by affirming the novelty
of a modernist mindset and offering an alternative to the empirical
and positivistic atmosphere of the nineteenth century. Stone seeks
to recreate a significant historical and cultural moment in the
development of modernity, a moment that embraces the concept of
Decadence while repurposing its aesthetic and social import to help
navigate the fundamental changes that accompanied the dawn of the
twentieth century.
Andrei Bely is best known for the modernist masterwork Petersburg,
a paradigmatic example of how modern writers strove to evoke the
fragmentation of language, narrative, and consciousness. In the
early twentieth century, Bely embarked on his life as an artist
with texts he called "symphonies"-works experimenting with genre
and sound, written in a style that shifts among prosaic, poetic,
and musical. This book presents Bely's four Symphonies-"Dramatic
Symphony," "Northern Symphony," "The Return," and "Goblet of
Blizzards"-fantastically strange stories that capture the banality
of life, the intimacy of love, and the enchantment of art. The
Symphonies are quintessential works of modernist innovation in
which Bely developed an evocative mythology and distinctive
aesthetics. Influenced by Russian Symbolism, Bely believed that the
role of modern artists was to imbue seemingly small details with
cosmic significance. The Symphonies depict the drabness of daily
life with distinct irony and satire-and then soar out of
turn-of-the-century Moscow into the realm of the infinite and
eternal. They conjure worlds that resemble our own but reveal
elements of artifice and magic, hinting at mystical truths and the
complete transfiguration of life. Showcasing the protean quality of
Bely's language and storytelling, Jonathan Stone's translation of
the Symphonies features some of the most captivating and beguiling
writing of Russia's Silver Age.
Russian literature is most celebrated for it genres of Romantic and
modernist poetry and 19th-century novels. While literary traditions
of varying sorts have been part of Slavic and Russian culture for
over a millennium, it is only since the 18th century that they came
to resemble literature from the West. The Historical Dictionary of
Russian Literature contains a chronology, an introductory essay,
appendixes, and an extensive bibliography. The dictionary section
has over 100 cross-referenced entries on significant people,
themes, critical issues, and the most significant genres that have
formed Russian Literature. This book is an excellent resource for
students, researchers, and anyone wanting to know more about
Russian literature.
The scene is Otisville Prison, upstate New York. A crew of
fraudsters, tax evaders, trigamists and forgers discuss matters of
right and wrong in a Talmudic study and prayer group, or 'minyan',
led by a rabbi who's a fellow convict. As the only prison in the
federal system with a kosher deli, Otisville is the penitentiary of
choice for white-collar Jewish offenders, many of whom secretly
like the place. They've learned to game the system, so when the
regime is toughened to punish a newly arrived celebrity convict who
has upset the 45th president, they find devious ways to fight back.
Shadowy forces up the ante by trying to 'Epstein' - ie assassinate
- the newcomer, and visiting poetry professor Deborah Liston ends
up in dire peril when she sees too much. She has helped the minyan
look into their souls. Will they now step up to save her? Jonathan
Stone brings the sensibility of Saul Bellow and Philip Roth to the
post-truth era in a sharply comic novel that is also wise, profound
and deeply moral.
Letters to Australia, Volume 3 is a collection of Julius Stone's
radio broadcasts on various international issues between 1950 and
1951.
"My four legitimately published thrillers, and the four works
collected here. It's like a brood of eight children - four
conventional offspring, and four rambunctious foster kids. Four who
have enjoyed all the easy benefits; striding proudly and blithely
forward on publishing's straight and narrow - toeing the line,
earning their dutiful reviewer A's (well, a couple of A's, mostly
B-pluses), attending the best (well, decent) schools, handsomely
clothed in their hardcovers, standing at timeless, dutiful,
alphabetical attention on library and bookstore shelves. The
children you never have to worry about. Versus four that have been
battered around by the world. They deserve better. They bring out
my protective instincts. They deserve a home. Here is their home.
And these unconventional children - the "unsuccessful" ones, the
adventurers, the wanderers, aren't they more interesting? Aren't
they the ones you want to hear about? The ones who are wreck
divers, ski instructors, bartenders, cabbies, aren't their stories
more interesting than your law partner, your radiologist, your
financial-analyst kids?" These are my foster children. My stepkids.
My orphans. A little wild. A little unpredictable. More than a
little unwelcome in the world. But come say hello, at least. Tussle
their hair. Pinch their cheeks. They won't bite. Well, no promises.
When retired police detective Joe Heller is called in to
investigate what might be Antarctica's first murder, he quickly
discovers that winter at McMurdo Station comes with a unique set of
challenges: darkness, isolation, and the eccentric behavior of the
research facility's 157 inhabitants. But a difficult investigation
turns much tougher when all communication with the outside world is
suddenly cut off. While Heller works diligently to reconstruct the
scene of the crime, evidence mounts that a pathogenic event could
be ravaging the rest of the planet. As night descends, fear mounts,
and confusion reigns, the killer strikes again. If this is a global
cataclysm, is someone now picking off the human race's few
remaining survivors? Is this the end of the world-or just the end
of Joe Heller's?
The Institutions of Russian Modernism illuminates the key role of
Symbolism as the earliest form of modernism in Russia, emerging
seemingly ex nihilo at the end of the nineteenth century. Combining
book history, periodical studies, and reception theory, Jonathan
Stone examines the poetry and theory of Russian Symbolism within
the framework of the institutions that organized, published, and
disseminated the works to Russian readers. Surveying a wealth of
examples of books, journals, and almanacs, Stone traces how
publishers of Symbolist works marketed the movement and fashioned a
Symbolist reader. His persuasive argument that after its eclipse
Symbolism's legacy remained embedded in the heart of Russian
modernism will be of interest to scholars and general readers.
The Institutions of Russian Modernism illuminates the key role of
Symbolism as the earliest form of modernism in Russia, emerging
seemingly ex nihilo at the end of the nineteenth century. Combining
book history, periodical studies, and reception theory, Jonathan
Stone examines the poetry and theory of Russian Symbolism within
the framework of the institutions that organized, published, and
disseminated the works to Russian readers. Surveying a wealth of
examples of books, journals, and almanacs, Stone traces how
publishers of Symbolist works marketed the movement and fashioned a
Symbolist reader. His persuasive argument that after its eclipse
Symbolism's legacy remained embedded in the heart of Russian
modernism will be of interest to scholars and general readers.
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