Steffen Mau

Thomas Lux

Linus Westheuser

»Soziale Konflikte sind nie einfach nur da, sie werden auch gesellschaftlich hergestellt: entfacht, angeheizt, getriggert.« Von einer »Spaltung der Gesellschaft« ist immer häufiger die Rede. Auch in der Alltagswahrnehmung vieler Menschen stehen sich zunehmend unversöhnliche Lager gegenüber. So plausibel sie klingen mögen, werfen entsprechende Diagnosen doch Fragen auf: Wie weit liegen die Meinungen in der Bevölkerung wirklich auseinander? Und ist die Gesellschaft heute wirklich zerstrittener als zur Zeit der Studentenproteste oder in den frühen Neunzigern? Nicht zuletzt weil man eine Spaltung auch herbeireden kann, tut mehr Klarheit not. Steffen Mau, Thomas Lux und Linus Westheuser kartieren aufwendig die Einstellungen in vier Arenen der Ungleichheit: Armut und Reichtum; Migration; Diversität und Gender; Klimaschutz. Bei vielen großen Fragen, so der überraschende Befund, herrscht einigermaßen Konsens. Werden jedoch bestimmte Triggerpunkte berührt, verschärft sich schlagartig die Debatte: Gleichstellung ja, aber bitte keine »Gendersprache«! Umweltschutz ja, aber wer trägt die Kosten? Eine 360-Grad-Vermessung der Konflikte um alte und neue Ungleichheiten, die eine unverzichtbare Diskussionsgrundlage bietet und viele Mythen entzaubert.

Konsens und Konflikt in der Gegenwartsgesellschaft | Warum Gendersternchen und Lastenfahrräder so viele Menschen triggern

Triggerpunkte

The Drowned River

"A brilliant new collection of poems by Kingsley Tufts Award-winning poet Thomas Lux With To the Left of Time, Thomas Lux adds more than fifty new poems to his celebrated oeuvre. Broken into three sections, these include semi-autobiographical poems, odes, and a final section that delves into a variety of subjects reflective of Lux's imaginative range. Full of his characteristic satire and humor, this new collection promises laughter and profound insight into the human condition. To the Left of Time is a powerful addition to the work of one who has been widely praised for his ability to offer image- and metaphor-driven visions as well as lines of plain language and immediacy. This collection proves that Lux's work will continue to inspire readers for decades to come. "--

To the left of time

A mesmerizing collection of poems set against the vivid landscape of rural America, speaking from rivers and swamps, deserts and lawns, jungles and the depths of the sea and addressing all the creatures that inhabit the corners of the natural world. Reprint.

The Street of Clocks

The Street of Clocks, Thomas Lux's first all-new collection since 1994, is a significant addition to the work of an utterly original, highly accomplished poet. The poems gathered here are delivered by a narrator who both loves the world and has intense quarrels with it. Often set against vivid landscapes - the rural America of Lux's childhood and unidentified places south of the border - these poems speak from rivers and swamps, deserts and lawns, jungles and the depths of the sea.

Poems

Konsens und Konflikt in der Gegenwartsgesellschaft

A brilliant new collection of poems by Kingsley Tufts Award–winning poet Thomas Lux With To the Left of Time, Thomas Lux adds more than fifty new poems to his celebrated oeuvre. Broken into three sections, these include semi-autobiographical poems, odes, and a final section that delves into a variety of subjects reflective of Lux’s imaginative range. Full of his characteristic satire and humor, this new collection promises laughter and profound insight into the human condition. To the Left of Time is a powerful addition to the work of one who has been widely praised for his ability to offer image- and metaphor-driven visions as well as lines of plain language and immediacy. This collection proves that Lux’s work will continue to inspire readers for decades to come.

To The Left Of Time

The Cradle Place is a collection from Thomas Lux, a self-described "recovering surrealist" and winner of the Kingsley Tufts Award. These fifty-two poems bring to full life the "refreshing iconoclasms" Rita Dove so admired in Lux's earlier work. His voice is plainspoken but moody, humorous and edgy, and ever surprising. These are philosophical poems that ask questions about language and intention, about the sometimes untidy connections between the human and natural worlds. In the poem "Terminal Lake," Lux undermines notions of benign nature, finding dark currents beneath the surface: "it's a huge black coin, / it's as if the real lake is drained / and this lake is the drain: gaping, language- / less, suck- and sinkhole." In the ominous "Render, Render," the narrator asks us to consider a concentration of the essences of our lives: all that is physical, spiritual, remembered, and dreamed for, melded together to make the messy self we present to the world. Lux's voice is intelligent without being bookish, urgent and unrelentingly evocative. He has long been a strong advocate for the relevance of poetry in American culture. The Los Angeles Times praises Lux for his "compelling rhythms, his biting irony, and his steady devotion to a craft that often seems thankless." As Sven Birkerts noted, "Lux may be one of the poets on whom the future of the genre depends."

The Cradle Place

A Boat in the Forest

Presents a new collection of surrealist, primarily free verse poems that contains elegies, homages, rants, and autobiographical elements.

Child Made of Sand

New Poems

Greatest Hits #259

Heike Horn

Johannes Christ

Daten zu öffentlich finanzierten Weiterbildungsangeboten in Deutschland, u. a. aus fast allen Volkshochschulen, werden in dieser Langzeitstatistik analysiert, die jährlich vom Deutschen Institut für Erwachsenenbildung (DIE) herausgegeben wird. Die Statistiken informieren über die Entwicklung in Institutionen, bei Personal und Finanzen, zum Leistungsspektrum durchgeführter Veranstaltungen sowie zu den Teilnehmenden. Die Statistik wird in Kooperation mit dem Bundesarbeitskreis Arbeit und Leben (BAK AL), der Deutschen Evangelischen Arbeitsgemeinschaft für Erwachsenenbildung (DEAE), der Katholischen Bundesarbeitsgemeinschaft Erwachsenenbildung (KEB) sowie dem Deutschen Volkshochschul-Verband e.V. (DVV) erstellt.

Weiterbildungsstatistik im Verbund 2019

Daniel Fricke

Evidence from the E-MID Trading Platform

Core-periphery Structure in the Overnight Money Market

One of the New York Public Library's 25 "Books to Remember" in 1997 Lux comments on the absurd, the pathetic, and the commonplace in our culture, writing with compassion as well as satire. He is "singular among his peers in his ability to convey with a deceptive lightness the paradoxes of human emotion," says Publishers Weekly, and Robert Hass, in the Washington Post Book World, takes special note of Lux's "bitter wit, the kind of irony that comes with a quick, impatient intelligence."

1975-1995

New And Selected Poems Of Thomas Lux

New and Selected Poems, 1975-1995

Marisa Faggini

Throughout the history of economics, a variety of analytical tools have been borrowed from the so-called exact sciences. As Schoe?er (1955) puts it: “They have taken their mathematics and their ded- tive techniques from physics, their statistics from genetics and agr- omy, their systems of classi?cation from taxonomy and chemistry, their model-construction techniques from astronomy and mechanics, and their methods of analysis of the consequences of actions from en- neering”. The possibility of similarities of structure in mathematical models of economic and physical systems has been an important f- tor in the development of neoclassical theory. To treat the state of an economy as an equilibrium, analogous to the equilibrium of a mech- ical system has been a key concept in economics ever since it became a mathematically formalized science. Adopting a Newtonian paradigm neoclassical economics often is based on three fundamental concepts. Firstly, the representative agent who is a scale model of the whole society with extraordinary capacities, particularly concerning her - pability of information processing and computation. Of course, this is a problematic reduction as agents are both heterogeneous and bou- edly rational and limited in their cognitive capabilities. Secondly, it often con?ned itself to study systems in a state of equilibrium. But this concept is not adequate to describe and to support phenomena in perpetual motion.

Coping with the Complexity of Economics

The Cradle Place is the new collection from Thomas Lux, a self-described "recovering surrealist" and winner of the Kingsley Tufts Award. These fifty-two poems bring to full life the "refreshing iconoclasms" Rita Dove so admired in Lux's earlier work. His voice is plainspoken but moody, humorous and edgy, and ever surprising. These are philosophical poems that ask questions about language and intention, about the sometimes untidy connections between the human and natural worlds. In the poem "Terminal Lake," Lux undermines notions of benign nature, finding dark currents beneath the surface: "it's a huge black coin, / it's as if the real lake is drained / and this lake is the drain: gaping, language- / less, suck- and sinkhole." In the ominous "Render, Render," the narrator asks us to consider a concentration of the essences of our lives: all that is physical, spiritual, remembered, and dreamed for, melded together to make the messy self we present to the world. Lux's voice is intelligent without being bookish, urgent and unrelentingly evocative. He has long been a strong advocate for the relevance of poetry in American culture. The Los Angeles Times praises Lux for his "compelling rhythms, his biting irony, and his steady devotion to a craft that often seems thankless." As Sven Birkerts noted, "Lux may be one of the poets on whom the future of the genre depends."

Poems deal with individuality, nonconformity, nature, curiosity, memory, and sensation

Thomas Lux

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