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Translation is a highly contested site in the Americas where different groups, often with competing literary or political interests, vie for space and approval. In its survey of these multiple and competing groups and its study of the geographic, socio-political and cultural aspects of translation, Edwin Gentzler’s book demonstrates that the Americas are a fruitful terrain for the field of translation studies.

Building on research from a variety of disciplines including cultural studies, linguistics, feminism and ethnic studies and including case studies from Brazil, Canada and the Caribbean, this book shows that translation is one of the primary means by which a culture is constructed: translation in the Americas is less something that happens between separate and distinct cultures and more something that is capable of establishing those very cultures.

Using a variety of texts and addressing minority and oppressed groups within cultures, Translation and Identity in the Americas highlights by example the cultural role translation policies play in a discriminatory process: the consequences of which can be social marginalization, loss of identity and psychological trauma.

Translation and Identity the Americas will be critical reading for students and scholars of Translation Studies, Comparative Literature and Cultural Studies.

• Sales Rank: #1946488 in Books
• Published on: 2007-12-14
• Released on: 2007-11-21
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x .53" w x 6.14" l, .0 pounds
• Binding: Paperback
• 232 pages

Review

'Edwin Gentzler's latest book travels a lively itinerary from north to south, investigating the complexity of language interactions from Quebec to Brazil. This is a vivid and strikingly original perspective on the melange of cultures which make up the Americas. ' Sherry Simon, University of Concordia, Canada

 

‘In this ground-breaking new book, Edwin Gentzler, one of the leading US translation experts, tackles the important question of the role played by translation in the shaping of the Americas.’ Susan Bassnett, University of Warwick, UK

"Translation and Identity in the Americas is an intriguing and well-researched work. It takes translation studies out of a narrow equivalence model, extending its range of reference to fiction, representation and bi- and multilingusalism while showing us possible new directions in translation theory."
-- Target, Vol. 22:2 (2010)

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This book examines the career and publications of the French architect Julien-David Leroy (1724–1803) and his impact on architectural theory and pedagogy.

Despite not leaving any built work, Leroy is a major international figure of eighteenth-century architectural theory and culture. Considering the place that Leroy occupied in various intellectual circles of the Enlightenment and Revolutionary period, this book examines the sources for his ideas about architectural history and theory and defines his impact on subsequent architectural thought. This book will be of key interest to graduate students and scholars of Enlightenment-era architectural history.

• Sales Rank: #4347129 in Books
• Brand: Brand: Routledge
• Published on: 2011-10-11
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x 7.00" w x .75" l, 1.70 pounds
• Binding: Hardcover
• 320 pages

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About the Author

Christopher Drew Armstrong is an Assistant Professor and Director of Architectural Studies in the Department of History of Art and Architecture at the University of Pittsburgh.

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• Sales Rank: #6318199 in Books
• Published on: 2009-10-05
• Original language: English
• Number of items: 1
• Dimensions: 9.38" h x .77" w x 6.49" l, 1.08 pounds
• Binding: Hardcover
• 224 pages

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Philosophy of art is traditionally concerned with the definition, appreciation and value of art. Through a close examination of art from recent centuries, Art and Phenomenology is one of the first books to explore visual art as a mode of experiencing the world itself, showing how in the words of Merleau-Ponty ‘Painting does not imitate the world, but is a world of its own’.

An outstanding series of chapters by an international group of contributors examine the following questions:

• Paul Klee and the body in art
• colour and background in Merleau-Ponty’s phenomenology of art
• self-consciousness and seventeenth-century painting
• Vermeer and Heidegger
• philosophy and the painting of Rothko
• embodiment in Renaissance art
• sculpture, dance and phenomenology.

Art and Phenomenology is essential reading for anyone interested in phenomenology, aesthetics, and visual culture.

• Sales Rank: #1035990 in Books
• Brand: Brand: Routledge
• Published on: 2011-01-14
• Original language: English
• Number of items: 1
• Dimensions: 9.30" h x .60" w x 6.10" l, .85 pounds
• Binding: Paperback
• 240 pages

Features

• Used Book in Good Condition

About the Author

Joseph D. Parry is Associate Professor in the Department of Humanities, Classics, and Comparative Literature, Brigham Young University, USA.

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8 of 8 people found the following review helpful.
Impressive collection of essays
By Glenn Russell
Back in college my exposure to phenomenology amounted to a professor's brief remarks and reading some Edmond Husserl as a prelude to studying existentialism. Although brief, I had a sense phenomenology offers much insight, especially when coupled with an investigation of art. So, forty years later, with a desire to expand my horizons via the study of both philosophy and art, I purchased a copy of Art and Phenomenology. I'm glad I did. I read each essay with great care.

Here are seven quotes from the introduction by Joseph D. Parry (the book's editor) and Mark Wrathall:

---"For Merleau-Ponty, our facticity cannot be understood apart from an understanding of our bodies. The body is the primordial situation of my being."

---"For phenomenology insists that my consciousness - my awareness of myself, others, objects, all of the things that make up my world - is rooted in my experience in the world, and this experience, in turn, is rooted in my body."

---" . . . phenomenology can explicitly reintroduce into aesthetics why art matters, something that often seems to be missing from aesthetic studies."

---" . . . what art does is philosophically significant. . . . Our approach to art is to treat it as a kind of phenomenology - which is not to say that art can be reduced to a discursive content, but rather that art can function as a way of directing us to important phenomena and helping us to understand them in their own terms."

---"Merleau-Ponty sits at the feet of Cezanne to learn from him concerning what it means, as an embodied being, to take up the world that opens itself to us in perception."

---". . . we expect our writers (of philosophy) to say something about the world, to say something that helps us know how to think about our experience, whereas a painting opens up the possibility of having an experience with the world."

---"This is a different kind of inquiry than that engaged in by traditional aesthetics or art-historical modes of studying artwork, because we take the work of art as performing an important role in teaching us to engage with the world."

For me, here are the two overarching themes of the introduction as represented by these quotes: 1) For phenomenology, experience is rooted in the body. 2) Art exposes us and opens us to our world and helps us understand the phenomenon of the world on their own terms.

Each of the 9 essays in the book explore and expand these themes in much depth. Many works of art are referred to throughout the book and 27 color plates are included. To provide a sampling and in the interest of space, I will focus on 2 of the 9 essays.

In "The Phenomenological Relevance of Art," Mark Wrathall notes how such philosophers as Heidegger, Merleau-Ponty, Sartre and Nietzsche believe "that works of art at their best are capable of showing us the phenomena under consideration more directly, powerfully, and perspicuously than any philosophical prose could." To my eye, this is a key insight as I read through Wrathall's essay since he goes on to write, ". . . the highest aspiration of phenomenology is to resolve philosophical questions in and through an apprehension of the phenomenon in question." With these two statements we can see why art is so important for phenomenology--art is a powerful tool to solve and answer philosophical questions relating to phenomenon.

To underscore the degree of power art contains, Wrathall continues, "The power of art in this regard, and its superiority over philosophy, is a product of the way it works on us affectively, thus not just altering our beliefs about the world, but more importantly, our dispositions through which we encounter and evaluate the world." Further on, the author highlights this idea more specifically when he cites, "Merleau-Ponty's central preoccupation is the lessons that art can teach us about the nature of our embodied perceptual engagement with the world. Art and only art is able to show us in full innocence the sensible and opened world such as it is in our life and for our body."

Wrathall gives a fascinating account of how and why Leonardo Da Vinci viewed painting as a superior science. He then uses Leonardo as a point of contrast to Merleau-Ponty's phenomenological position.

The author concludes his essay with a study of the artist Paul Klee's thinking about the artist's body as a medium. Klee's reflections crystalize a connecting between art and perception that can, in turn, be used as a powerful case study for phenomenology. Here are several excerpts:

--- Klee believed that artists are more keenly attuned to what we pick up in perception than most. If this is right, then we stand to learn something by studying artists and their work - not because seeing the world is like seeing a picture, but because creating a depiction demands that you be able to see the world."

--- ". . . creative fire has its source not in the spontaneous facility of the mind, but in a `receptive' organ - the eye. "

---"It is in holding himself ready for the fire `yet to come' that the artist is able to receive from the eye what is needed to awaken the fire."

---"Artistic creation as Klee experienced it is a temporal process of finding a bodily attitude that will let the situation draw out a motor response."

---"On Klee's account, then, to be an artist, one needs to become sensitized to one's own body in a special way."

In this case study we can see why philosophers serious about phenomenology stand to learn a great deal from artists like Klee.

Sean Dorrance Kelly writes on `Representing the Real - A Meleau-Pontyan account of art and experience from the Renaissance to New Media'. This is a fascinating essay where the author touches on a number of intriguing aspects of painting. We are told, "Realist painting on this view is not so much about how real the images are . . . but rather about how perceptually forceful they are." Here we have painting as the power of perception.

Further on Kelly observes, ". . . perhaps like the works of the analytical Cubists . . . is an attempt to present to the viewer what there is all at once, rather than to create in the viewer the everyday experience of the real." Kelly continues this line of thinking with a captivating discussion of how artists used mirrors in their work to capture their subject in 360 degree. In so doing, painters trumped sculptures as the viewer need not walk around the artwork to have a back view; rather, the viewer has the back view via the mirror within the painting!

Kelly contrasts the attitude of being absorbed vs. the attitude of being detached. We read: "One can try to paint not just the young man who is absorbed in blowing the soap bubble, as Chardin did, but the young man's experience of the soap bubble when he is absorbed in blowing it." This hits on a major theme of phenomenology: our experience of objects vs. the objects themselves.

Kelly picks up on other aspects of art to highlight the phenomenological approach, including how Impressionists focus on the lighting of objects, how Cezanne painted apples to be experienced as real things and how New Media artist Bill Viola plays with various speeds of film to " give us a whole new range of tools for exploring the nature of experience itself." All told, this essay is a true gem, providing a rich picture of what is involved in phenomenology and art.

Again, these comments are but a sampling. Anybody interested in philosophy or art, or more specifically, art within the world of phenomenology, would be well to pick up a copy of this book. One last observation: Although Merleau-Ponty figures prominently in the material cited, he is not mentioned in 5 of the 9 essays. Rather, the philosophers Fichte, Husserl and Heidegger are referenced, to name three.

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Covering everything from Edison to Avatar, Gomery and Pafort-Overduin have written the clearest, best organized, and most user-friendly film history textbook on the market. It masterfully distills the major trends and movements of film history, so that the subject can be taught in one semester. And each chapter includes a compelling case study that highlights an important moment in movie history and, at the same time, subtly introduces a methodological approach. This book is a pleasure to read and to teach. Peter Decherney, University of Pennsylvania, USA

In addition to providing a comprehensive overview of the development of film around the world, the book gives us examples of how to do film history, including organizing the details and discussing their implications.Hugh McCarney, Western Connecticut State University, USA

Douglas Gomery and Clara Pafort-Overduin have created an outstanding textbook with an impressive breadth of content, covering over 100 years in the evolution of cinema. Movie History: A Survey is an engaging book that will reward readers with a contemporary perspective of the history of motion pictures and provide a solid foundation for the study of film. Matthew Hanson, Eastern Michigan University, USA

How can we understand the history of film?

Historical facts don’t answer the basic questions of film history. History, as this fascinating book shows, is more than the simple accumulation of film titles, facts and figures. This is a survey of over 100 years of cinema history, from its beginnings in 1895, to its current state in the twenty-first century.

An accessible, introductory text, Movie History: A Survey looks at not only the major films, filmmakers, and cinema institutions throughout the years, but also extends to the production, distribution, exhibition, technology and reception of films. The textbook is divided chronologically into four sections, using the timeline of technological changes:

Section One looks at the era of silent movies from 1895 to 1927; Section Two starts with the coming of sound and covers 1928 until 1950; Section Three runs from 1951 to 1975 and deals with the coming and development of television; and Section Four focuses on the coming of home video and the transition to digital, from 1975 to 2010.

Key pedagogical features include:

• timelines in each section help students to situate the films within a broader historical context
• case study boxes with close-up analysis of specific film histories and a particular emphasis on film reception
• lavishly illustrated with over 450 color images to put faces to names, and to connect pictures to film titles
• margin notes add background information and clarity
• glossary for clear understanding of the key terms described
• references and further reading at the end of each chapter to enhance further study.

A supporting website is available at www.routledge.com/textbooks/moviehistory, with lots of extra materials, useful for the classroom or independent study, including:

• additional case studies – new, in-depth  and unique to the website
• international case studies –  for the Netherlands in Dutch and English
• timeline - A movie history timeline charting key dates in the history of cinema from 1890 to the present day
• revision flash cards – ideal for getting to grips with key terms in film studies
• related resources – on the website you will find every link from the book for ease of use, plus access to additional online material
• students are also invited to submit their own movie history case studies - see website for details
  

Written by two highly respected film scholars and experienced teachers, Movie History is the ideal textbook for students studying film history.

• Sales Rank: #643374 in Books
• Published on: 2011-03-03
• Original language: English
• Number of items: 1
• Dimensions: 9.80" h x .90" w x 7.50" l, 2.25 pounds
• Binding: Paperback
• 480 pages

Review

"Covering everything from Edison to Avatar, Gomery and Pafort-Overduin have written the clearest, best organized, and most user-friendly film history textbook on the market. It masterfully distills the major trends and movements of film history, so that the subject can be taught in one semester. And each chapter includes a compelling case study that highlights an important moment in movie history and, at the same time, subtly introduces a methodological approach. This book is a pleasure to read and to teach." Peter Decherney, University of Pennsylvania, USA

"In addition to providing a comprehensive overview of the development of film around the world, the book gives us examples of how to do film history, including organizing the details and discussing their implications." Hugh McCarney, Western Connecticut State University, USA

"Douglas Gomery and Clara Pafort-Overduin have created an outstanding textbook with an impressive breadth of content, covering over 100 years in the evolution of cinema. Movie History: A Survey is an engaging book that will reward readers with a contemporary perspective of the history of motion pictures and provide a solid foundation for the study of film." Matthew Hanson, Eastern Michigan University, USA

About the Author

Douglas Gomery is emeritus professor at the University of Maryland, USA. His publications include two prize winning books, Shared Pleasures: A History of Movie Presentation (1991) and Who Owns the Media (2000).

Clara Pafort-Overduin teaches at the Department of Theater, Film and Television Studies at Utrecht University, The Netherlands, and is a founding member of the International Cinema Attendances Research Group.

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Useful content.
By Rekha
Bought this for my Son's use in college and he is making good use of this book. He says it's an interesting book- finished reading it in a few hours.

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used for class, cheaper than school bookstore
By MZimm413
cheaper than the school bookstore. used for class.. new and clean.... I really do not have anything else to say

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~ Download The Theory and Practice of History: Edited with an introduction

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Leopold von Ranke, who was born in 1795, is considered to be one of the founders of the modern practice of writing history. This collection of his writings, edited and introduced by Georg G. Iggers, was first published in 1973 and remains the leading collection of Ranke’s writings in the English language.

Now updated with the needs of current students in mind, this edition includes previously untranslated materials by the young Ranke, focusing particularly on the relationship between history and religion together with his inaugural lecture of 1836 ‘On the Relation and Difference between History and Politics’. Including pieces on historical science, and on the relationship between history and philosophy, as well as country specific histories, this book is essential reading for all students of historiography.

• Sales Rank: #1043604 in Books
• Published on: 2010-12-22
• Released on: 2010-10-22
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x .46" w x 6.14" l, .70 pounds
• Binding: Paperback
• 200 pages

About the Author

Georg G. Iggers is Distinguished Professor of History Emeritus at the State University of New York at Buffalo. He has published numerous influential works on historiography including his co-authored Global History of Historiography (2008) and Twentieth Century Historiography (2005). He has received many fellowships including the Guggenheim, the Rockefeller, the Newberry Library and the National Endowment for the Humanities. He was also formerly a Fulbright fellow and a Woodrow Wilson Center fellow.

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By Rev. Dr. J. Dirk Reek
this is a text for a joint course in the philosophy of history I'm teaching. I look forward to digging into it.

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Five Stars
By Jeffrey Beach
Great book and it came looking brand new.

1 of 3 people found the following review helpful.
Great Primary Resource
By Nick
This book has lot's of primary source material. It is a good selection of some of Leopold Von Rankes works. Makes an excellent addition to your libarary!

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? Ebook Organizational Transformation for Sustainability: An Integral Metatheory (Routledge Studies in Business Ethics), by Mark Edwards

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During the 21st century organizations will undergo a level of radical and global change that has rarely been seen before. This transformation will come as a result of the environmental, social and economic challenges that now confront organisations in all their activities. But are our understandings and theories of change up to the task of meeting these challenges? Will we be able to develop sustaining visions of how organizations might contribute to the long-term viability of our interdependent global communities? Organizational Transformation for Sustainability: An Integral Metatheory offers some innovative answers to the big questions involved in organizational sustainability and the radical changes that organizations will need to undergo as we move into the third millennium. This new approach comes from the emerging field of integral metatheory.

Edwards shows how a "Big Picture" view of organisational transformation can contribute to our understanding of, and search for, organisational sustainability. There are four key themes to the book: i) the need for integrative metatheories for organisational change; ii) the development of a general research method for building metatheory; iii) the description of an integral metatheory for organisational sustainability; and iv) the discussion of the implications of this metatheory for organisational change and social policy regarding sustainability. This book brings a unique and important orienting perspective to these issues.

• Sales Rank: #6837071 in Books
• Published on: 2009-12-17
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .69" w x 5.98" l, 1.15 pounds
• Binding: Hardcover
• 290 pages

Review

Winner of the Integral Leadership Review "Book of the Year" Award

"Once every generation or so, a field-defining scholarly statement appears. Mark Edwards's metatheory for organizational transformation is such a book for the field of organizational change and transformation." - From the Foreword by William R. Torbert, Boston College

"Not only is this an excellent example of scholarship, but a clearly written, well presented treatment of a very complex topic." - Russ Volckman, Integral Leadership Review

"If you are interested in metatheory, organizational transformation, sustainability, great examples of clear and thorough writing, or just like to gain a view from a profound set of perspectives, then get and read Mark Edwards’ Organizational Transformation for Sustainability. An Integral Metatheory." - Jonathan Reams, Integral Review

About the Author

Mark Edwards is a registered psychologist with a Masters degree in developmental psychology and a PhD (awarded distinction) in organisation theory from the University of Western Australia. He has worked with people with disabilities for more than 20 years. He currently teaches business ethics at the Business School, University of Western Australia and metatheoretical studies at the John F. Kennedy University in California. His academic publications have been in the areas of futures studies, leadership, management and organisation theory and integral metatheory.

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