For Yugoslavia, the Cold War period was a decisive moment of world-wide expansion in its political, economic, cultural relations -- and its architecture.
Historian Robin Einhorn discusses the big story about taxation in American history: the redistribution from the South to the Northeast, through the nineteenth-century tariff, and then from the Northeast to the South, through the twentieth-century income tax.
In this lecture, "A Global History of Health: Reconstructing Humankind’s Encounters with Infectious Diseases," historian Monica Green addresses the need for a narrative of global health that encompasses every continent, across time, and includes all major infectious diseases.
Historian Michael Miller uses French waterways to propose a different framework for exploring the intersection of French geography, history, and identity.
CEO of Energy Innovation, Hal Harvey, examines how decarbonization trends and new technologies indicate that we can arrive at a reasonable climate future with very modest costs and profound benefits.
Writer Mary Cappello presented a multi-modal reading drawn from her new writing on “mood”— a suite of lyric essays and experimental prose that allows for mood’s mercurial nature and gives free play to mood’s pre-conscious origins.
On September 18, 2015, Gerhard Casper, the acting president of the American Academy in Berlin, joined a panel discussion on the United States and Russia.
In this lecture, Anna-Maria Kellen Fellow Nathanial Levtow examines the phenomenon of text destruction from the beginning of writing to the formation of the Bible.
In the 2015 Kurt Viermetz Lecture on May 28, economist Lawrence H. Summers drew on a recent international report he co-chaired on inclusive prosperity to discuss the ways in which the global economy has changed over the last generation and how policies need to respond.
Composer and multi-instrumentalist Elliott Sharp uses a wide variety of strategies to compose and perform music. In this lecture, Sharp discusses his compositions and the formal ideas at play in his improvisation, concluding with a brief improvised performance on his eight-string electroacoustic guitarbass.