In the earlier volumes of this survey of the historical transformations of those imagined forms that I am calling the "masks" of God, through which men everywhere have sought to relate themselves to the wonder of existence, the myths and rites of the Primitive, Oriental, and Early Occidental worlds could be discussed in terms of grandiose unitary stages. For in the history of our still youthful species, a profound respect for inherited forms has generally suppressed innovation.
This book is intended to provide a working knowledge of those parts of exterior differential forms, differential geometry, algebraic and differential topology, Lie groups, vector bundles and Chern forms that are essential for a deeper understanding of both classical and modern physics and engineering. Included are discussions of analytical and fluid dynamics, electromagnetism, thermodynamics, the deformation tensors of elasticity, soap films, special and general relativity, the Dirac operator and spinors, and gauge fields, including Yang-Mills, the Aharonov-Bohm effect, Berry phase, and instanton winding numbers.
• Where does our sense of identity and belonging come from? • How does culture produce and challenge identities? In Identity and Culture Chris Weedon looks at how different cultural narratives and practices work to constitute identity for individuals and groups in multi-ethnic, ‘postcolonial’ societies.
Prose Edda is a work without predecessor or parallel. Snorri Sturluson feared that the traditional techniques of Norse poetics, the pagan kennings, and the allusions to mythology would be forgotten with the introduction of new verse forms from Europe. Prose Edda was designed as a handbook for poets to compose in the style of the skalds of the Viking ages. It is an exposition of the rule of poetic diction with many examples, applications, and retellings of myths and legends. The present selection includes the whole of Gylfaginning (The deluding of Gylfi)--a guide to mythology that forms one of the great storybooks of the Middle Ages.
Warped Space: Art, Architecture, and Anxiety in Modern Culture
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city.
