unlike the benevolent orphan found in charlie chaplin's the kid or the sentimentalized figure of little orphan annie, the orphan in postwar eastern european cinema takes on a more politically fraught role, embodying the tensions of individuals struggling to recover from war and grappling with an unknown future under soviet rule. by exploring films produced in postwar hungary, the german democratic republic, czechoslovakia, romania, and poland, parvulescu traces the way in which cinema envisioned and debated the condition of the post-world war ii subject and the "new man" of soviet-style communism. in these films, the orphan becomes a cinematic trope that interrogates socialist visions of ideological institutionalization and re-education and stands as a silent critic of the system's shortcomings or as a resilient spirit who has resisted capture by the political apparatus of the new state.

a groundbreaking work on how the topic of scale provides an entirely new understanding of inca material culture

although questions of form and style are fundamental to art history, the issue of scale has been surprisingly neglected. yet, scale and scaled relationships are essential to the visual cultures of many societies from around the world, especially in the andes. in scale and the incas, andrew hamilton presents a groundbreaking theoretical framework for analyzing scale, and then applies this approach to inca art, architecture, and belief systems.

the incas were one of humanity's great civilizations, but their lack of a written language has prevented widespread appreciation of their sophisticated intellectual tradition. expansive in scope, this book examines many famous works of inca art including machu picchu and the dumbarton oaks tunic, more enigmatic artifacts like the sayhuite stone and capacocha offerings, and a range of relatively unknown objects in diverse media including fiber, wood, feathers, stone, and metalwork. ultimately, hamilton demonstrates how the incas used scale as an effective mode of expression in their vast multilingual and multiethnic empire.

lavishly illustrated with stunning color plates created by the author, the book's pages depict artifacts alongside scale markers and silhouettes of hands and bodies, allowing readers to gauge scale in multiple ways. the pioneering visual and theoretical arguments of scale andthe incas not only rewrite understandings of inca art, but also provide a benchmark for future studies of scale in art from other cultures.

in his prose fiction, memoirs, poetry, and drama, thomas bernhard (1931-1989)-one of the twentieth century's most uniquely gifted writers-created a new and radical style, seemingly out of thin air. his books never "tell a story" in the received sense. instead, he rages on the page, he rants and spews vitriol about the moral failures of his homeland, austria, in the long amnesiac aftermath of the second world war.

yet this furious prose, seemingly shapeless but composed with unparalleled musicality, and taxing by conventional standards, has been powerfully echoed in many writers since bernhard's death in 1989. these explorers have found in bernhard's singular accomplishment new paths for the expression of life and truth.

thomas bernhard's afterlives examines the international mobilization of bernhard's style. writers in italian, german, spanish, hungarian, english, and french have succeeded in making bernhard's austrian vision an international vision. this book tells that story.