by hex | Sep 17, 2015 | Music in Paris in the 1920s (2015)
Reading Hans Gumbrecht’s In 1926: Living at the Edge of Time reminds me of my experience of visiting museums: not museums like the whole Metropolitan Museum of Art in New York, but museums on a smaller scale that offer special collections on specific art styles, forms...
by Tim Apolloni | Sep 16, 2015 | Music in Paris in the 1920s (2015)
Gumbrecht, Presner, Shepard, and Kawano are trying to introduce unorthodox yet clever and multidimensional ways of presenting history such that patterns become more evident and large scale deductions can be made by taking into account the mass data that is accumulated...
by Philip Claussen | Sep 16, 2015 | Music in Paris in the 1920s (2015), Philip Claussen
In the book In 1926: Living at the Edge of Time, Hans Gumbrecht attempts to demonstrate something that was entirely new in 1997, and is still largely unfamiliar to historians. Instead of describing an event or a person from a traditional standpoint, using words, a few...
by Andrew Horton | Sep 16, 2015 | Music in Paris in the 1920s (2015)
With In 1926: Living at the Edge of Time, Gumbrecht strives to represent one specific year in history as vividly as possible. He depicts “history as a narrative,” rather than seeking to describe the historical environment of the year (page xi). With various essays on...
by devries | Sep 16, 2015 | Music in Paris in the 1920s (2015)
When I was younger, my dad would always have an atlas in the car when we went on family vacations. Then, he started printing off Google Maps directions. A few years ago, he finally relinquished directional control and learned to trust a GPS device. Now, I constantly...
by surom | Sep 16, 2015 | Music in Paris in the 1920s (2015)
Academia is always trying to find new ways to exhibit information in meaningful and enlightening ways. This is due in part because as academicians, we believe that the things we study are important, and that we should be studying them. Presner, Shepard, and Kowano are...
