bertrams print on demand mär 1999 (2 resultados)

Taschenbuch. Condición: Neu. Neuware - From the 1930s to the 1980s, the capital of weightlifting in America was York, Pennsylvania, the home of the York Barbell Company. Bob Hoffman, the founder of York Barbell, propagated an ideology of success for Americans seeking physical improvement. Often called the 'Father of World Weightlifting,' Hoffman was a pioneer in marketing barbells and health foods. He popularized weight training and inaugurated a golden age of American weightlifting. Muscletown USA--part biography, part business history, and part sports history--chronicles how Hoffman made York the mecca of manly culture for millions of followers worldwide.Hoffman created his so-called muscle empire out of an oil-burner business that he started in the early 1920s. Within a decade, his passion for sport exceeded his need to produce oil burners and by the outset of the Depression he began manufacturing barbells at the factory. He soon discovered a willing public of aspiring weightlifters like himself who would buy not only barbells but also health and fitness products. Hoffman soon recruited a remarkable group of athletes, whom he tagged his 'York Gang.' He gave these men jobs in the factory, where they trained for national and international meets. Gradually, Hoffman emerged as one of the most prominent muscle peddlers in America, using his fame and fortune to promote competitive weightlifting, bodybuilding, and powerlifting. Muscletown USA reveals other innovations in which Hoffman played a major role, including weight training for athletes, health foods, bottled spring water, isometrics, and women's weightlifting. Even anabolic steroids, first used by weightlifters in the early 1960s, were a direct outgrowth of the fitness culture spawned by Hoffman.Meticulously researched and engagingly written, Fair's book will appeal to a wide range of readers, including anyone fascinated by American sports history and the iron game.John D. Fair is professor of history and chair of the Department of History and Geography at Georgia College & State University in Milledgville, Georgia. He is the author of two books on modern British history. He has competed in more than fifty Olympic and powerlifting meets, coached several teams, taught weight-training classes, staged meets, been a national referee, served on the national weightlifting committee, and even judged a Mr. America contest.

Taschenbuch. Condición: Neu. Neuware - What, After All, Is a Work of Art directs our attention toward historicity, the inherent historied nature of thinking, and the artifactual, culturally emergent nature of both art and human selves. While these are familiar themes in Margolis's well-known studies of art and culture, they are largely neglected in English-language aesthetics and even philosophy in general. Margolis brings these primary themes to bear on a number of strategically selected issues: the modernism/postmodernism dispute; the treatment of modernist and 'post-historical' painting in Clement Greenberg and Arthur Danto; the coherence of relativism in interpreting art and the relevance of cultural relativity; the difference between artworks and persons as culturally constituted entities in contrast to natural entities and with regard to the logic of interpretation; the import of film on the theory of the relationship between understanding ourselves and understanding art, with special attention to the views of Walter Benjamin; and the propriety of the analogy between artworks and selves, as cultural entities, by way of treating the arts (also history, action, and language) as a form of human 'utterance.'Although the argument is largely focused on certain particularly strenuous puzzles in the philosophy of art, the validity of Margolis's claims are more far reaching. If, through incorporating the reality of physical and biological nature, the emergence of art and human selves cannot rest satisfactorily on exemplars selected from nature alone, then certain fashionable views of science, of canons of understanding, conceptual resources, logic, rationality, and the like may well have to yield ground to ampler models that have been largely marginalized or overridden. In particular, the admission of historicity, the nerve of Margolis's argument, invites a decisive conceptual reorientation.What, After All, Is a Work of Art is based on a series of lectures Margolis delivered at various universities in Japan in the Spring of 1997, while serving as a fellow of the Japan Society for the Promotion of Science.