|
Showing 1 - 23 of
23 matches in All Departments
|
Freedom - Poems
Geoffrey Winthrop Young
|
R808
Discovery Miles 8 080
|
Ships in 12 - 17 working days
|
In a crucial shift within posthumanistic media studies, Bernhard
Siegert dissolves the concept of media into a network of operations
that reproduce, displace, process, and reflect the distinctions
fundamental for a given culture. Cultural Techniques aims to forget
our traditional understanding of media so as to redefine the
concept through something more fundamental than the empiricist
study of a medium's individual or collective uses or of its
cultural semantics or aesthetics. Rather, Siegert seeks to relocate
media and culture on a level where the distinctions between object
and performance, matter and form, human and nonhuman, sign and
channel, the symbolic and the real are still in the process of
becoming. The result is to turn ontology into a domain of all that
is meant in German by the word Kultur.
Cultural techniques comprise not only self-referential symbolic
practices like reading, writing, counting, or image-making. The
analysis of artifacts as cultural techniques emphasizes their
ontological status as "in-betweens," shifting from firstorder to
second-order techniques, from the technical to the artistic, from
object to sign, from the natural to the cultural, from the
operational to the representational.
Cultural Techniques ranges from seafaring, drafting, and eating to
the production of the sign-signaldistinction in old and new media,
to the reproduction of anthropological difference, to the study of
trompe-l'oeils, grids, registers, and doors. Throughout, Siegert
addresses fundamental questions of how ontological distinctions can
be replaced by chains of operations that process those alleged
ontological distinctions within the ontic.
Grounding posthumanist theory both historically and technically,
this book opens up a crucial dialogue between new German media
theory and American postcybernetic discourses.
Toward the end of the nineteenth century, the hegemony of the
printed word was shattered by the arrival of new media technologies
that offered novel ways of communicating and storing data.
Previously, writing had operated by way of symbolic mediation--all
data had to pass through the needle's eye of the written
signifier--but phonography, photography, and cinematography stored
physical effects of the real in the shape of sound waves and light.
The entire question of referentiality had to be recast in light of
these new media technologies; in addition, the use of the
typewriter changed the perception of writing from that of a unique
expression of a literate individual to that of a sequence of naked
material signifiers.
Part technological history of the emergent new media in the late
nineteenth century, part theoretical discussion of the responses to
these media--including texts by Rilke, Kafka, and Heidegger, as
well as elaborations by Edison, Bell, Turing, and other
innovators--"Gramophone, Film, Typewriter" analyzes this momentous
shift using insights from the work of Foucault, Lacan, and McLuhan.
Fusing discourse analysis, structuralist psychoanalysis, and media
theory, the author adds a vital historical dimension to the current
debates over the relationship between electronic literacy and
poststructuralism, and the extent to which we are constituted by
our technologies. The book ties the establishment of new discursive
practices to the introduction of new media technologies, and it
shows how both determine the ways in which psychoanalysis conceives
of the psychic apparatus in terms of information machines.
"Gramophone, Film, Typewriter" is, among other things, a
continuation as well as a detailed elaboration of the second part
of the author's "Discourse Networks, 1800/1900" (Stanford, 1990).
As such, it bridges the gap between Kittler's discourse analysis of
the 1980's and his increasingly computer-oriented work of the
1990's.
"Quod non est in actis, non est in mundo," (What is not on file is
not in the world.) Once files are reduced to the status of stylized
icons on computer screens, the reign of paper files appears to be
over. With the epoch of files coming to an end, we are free to
examine its fundamental influence on Western institutions. From a
media-theoretical point of view, subject, state, and law reveal
themselves to be effects of specific record-keeping and filing
practices. Files are not simply administrative tools; they mediate
and process legal systems. The genealogy of the law described in
Vismann's "Files" ranges from the work of the Roman magistrates to
the concern over one's own file, as expressed in the context of the
files kept by the East German State Security. The book concludes
with a look at the computer architecture in which all the stacks,
files, and registers that had already created order in medieval and
early modern administrations make their reappearance.
Operation Valhalla collects eighteen texts by German media theorist
Friedrich Kittler on the close connections between war and media
technology. In these essays, public lectures, interviews, literary
analyses, and autobiographical musings, Kittler outlines how war
has been a central driver of media's evolution, from Prussia's wars
against Napoleon to the so-called War on Terror. Covering an
eclectic array of topics, he charts the intertwined military and
theatrical histories of the searchlight and the stage lamp, traces
the microprocessor's genealogy back to the tank, shows how
rapid-fire guns brought about new standards for optics and
acoustics, and reads Thomas Pynchon's Gravity's Rainbow to upset
established claims about the relationship between war, technology,
and history in the twentieth century. Throughout, Operation
Valhalla foregrounds the outsize role of war in media history as
well as Kittler's importance as a daring and original thinker.
Toward the end of the nineteenth century, the hegemony of the
printed word was shattered by the arrival of new media technologies
that offered novel ways of communicating and storing data.
Previously, writing had operated by way of symbolic mediation--all
data had to pass through the needle's eye of the written
signifier--but phonography, photography, and cinematography stored
physical effects of the real in the shape of sound waves and light.
The entire question of referentiality had to be recast in light of
these new media technologies; in addition, the use of the
typewriter changed the perception of writing from that of a unique
expression of a literate individual to that of a sequence of naked
material signifiers.
Part technological history of the emergent new media in the late
nineteenth century, part theoretical discussion of the responses to
these media--including texts by Rilke, Kafka, and Heidegger, as
well as elaborations by Edison, Bell, Turing, and other
innovators--"Gramophone, Film, Typewriter" analyzes this momentous
shift using insights from the work of Foucault, Lacan, and McLuhan.
Fusing discourse analysis, structuralist psychoanalysis, and media
theory, the author adds a vital historical dimension to the current
debates over the relationship between electronic literacy and
poststructuralism, and the extent to which we are constituted by
our technologies. The book ties the establishment of new discursive
practices to the introduction of new media technologies, and it
shows how both determine the ways in which psychoanalysis conceives
of the psychic apparatus in terms of information machines.
"Gramophone, Film, Typewriter" is, among other things, a
continuation as well as a detailed elaboration of the second part
of the author's "Discourse Networks, 1800/1900" (Stanford, 1990).
As such, it bridges the gap between Kittler's discourse analysis of
the 1980's and his increasingly computer-oriented work of the
1990's.
Operation Valhalla collects eighteen texts by German media theorist
Friedrich Kittler on the close connections between war and media
technology. In these essays, public lectures, interviews, literary
analyses, and autobiographical musings, Kittler outlines how war
has been a central driver of media's evolution, from Prussia's wars
against Napoleon to the so-called War on Terror. Covering an
eclectic array of topics, he charts the intertwined military and
theatrical histories of the searchlight and the stage lamp, traces
the microprocessor's genealogy back to the tank, shows how
rapid-fire guns brought about new standards for optics and
acoustics, and reads Thomas Pynchon's Gravity's Rainbow to upset
established claims about the relationship between war, technology,
and history in the twentieth century. Throughout, Operation
Valhalla foregrounds the outsize role of war in media history as
well as Kittler's importance as a daring and original thinker.
In a crucial shift within posthumanistic media studies, Bernhard
Siegert dissolves the concept of media into a network of operations
that reproduce, displace, process, and reflect the distinctions
fundamental for a given culture. Cultural Techniques aims to forget
our traditional understanding of media so as to redefine the
concept through something more fundamental than the empiricist
study of a medium's individual or collective uses or of its
cultural semantics or aesthetics. Rather, Siegert seeks to relocate
media and culture on a level where the distinctions between object
and performance, matter and form, human and nonhuman, sign and
channel, the symbolic and the real are still in the process of
becoming. The result is to turn ontology into a domain of all that
is meant in German by the word Kultur.
Cultural techniques comprise not only self-referential symbolic
practices like reading, writing, counting, or image-making. The
analysis of artifacts as cultural techniques emphasizes their
ontological status as "in-betweens," shifting from firstorder to
second-order techniques, from the technical to the artistic, from
object to sign, from the natural to the cultural, from the
operational to the representational.
Cultural Techniques ranges from seafaring, drafting, and eating to
the production of the sign-signaldistinction in old and new media,
to the reproduction of anthropological difference, to the study of
trompe-l'oeils, grids, registers, and doors. Throughout, Siegert
addresses fundamental questions of how ontological distinctions can
be replaced by chains of operations that process those alleged
ontological distinctions within the ontic.
Grounding posthumanist theory both historically and technically,
this book opens up a crucial dialogue between new German media
theory and American postcybernetic discourses.
A new critical assessment of the works of the Austrian-Jewish
author, in whom there has been a recent resurgence of interest,
from the perspective of world literature. The twenty-first century
has seen a renewed surge of cultural and critical interest in the
works of the Austrian-Jewish author Stefan Zweig (1881-1942), who
was among the most-read and -acclaimed authors worldwide in the
1920s and1930s but after 1945 fell into critical disfavor and
relative obscurity. The resurgence in interest in Zweig and his
works is attested to by, among other things, new English
translations and editions of his works; a Brazilian motion picture
and a best-selling French novel about his final days; and a renewed
debate surrounding the literary quality of his work in the London
Review of Books. This global return to Zweig calls for a critical
reassessment of his legacy and works, which the current collection
of essays provides by approaching them from a global perspective as
opposed to the narrow European focus through which they have been
traditionally approached. Together, theintroduction and twelve
essays engage the totality of Zweig's published and unpublished
works from his drama and his fiction to his letters and his
biographies, and from his literary and art criticism to his
autobiography. Contributors: Richard V. Benson, Jeffrey B. Berlin,
Darien J. Davis, Marlen Eckl, Mark H. Gelber, Robert Kelz, Klemens
Renoldner, Birger Vanwesenbeeck, John Warren, Klaus Weissenberger,
Robert Weldon Whalen, Geoffrey Winthrop-Young. Birger Vanwesenbeeck
is Associate Professor of English at the State University of New
York at Fredonia. Mark H. Gelber is Senior Professor of Comparative
Literature and German-Jewish Studies at Ben-Gurion University of
the Negev, Israel.
TURN-OF-THE-CENTURY EXTREME SPORT WALL AND ROOF CLIMBING
(1905)
"(Including illuminating Appendices on Furniture, Tree and
Haystack Climbing)"
Five years after successfully launching the original in the
Night Climbing series, The Roof-Climbers Guide to Trinity, on an
unsuspecting world in 1900, Geoffrey Winthrop-Young penned an
astonishingly erudite parody of the literature guides of the time.
With extensive stegophilic references and quotations drawn from the
literature of the the last two thousand years and more, he nearly
manages to prove that Catullus and Aristophanes, Shakespeare and
Longfellow - amongst very many others - were avid enthusiasts and
exponents of roof climbing...
THE FIRST NIGHT CLIMBING TITLE
In several inter-connected sections GW-Y explores and explains
the different ages and types of building and the necessary
differences in materials used prompting the alternative ways of
tackling said. He examines the rich literary history of the sport
in global proverbs, poetry and prose. The varied costumes, the
prevalence of women roof-climbers and geographic differences in
thought are all woven together in an almost exhaustive expose of
this sport that remains so popular today but has a philosophy as
difficult to define now as then: ""The change of centuries has
brought no cessation in the perennial pestering as to the nature of
this climbing infatuation. The unenlightened still press with
old-time pertinacity for a logical exposition of the instinct which
induces rational beings to spread themselves over knobby countries
or polish uncomfortable walls; mountaineers have long abandoned the
attempt to answer, and wallers may imitate their compassionate
shrug. What philosophic system could congeal into frigid words this
harmonious exaltation?""
We have no doubt the guide will be as useful now as then but
concur with the contemporary reviewer when he notes:
""As it is probable that this review will lead to a large demand
for the work in big cities by professional and business men, it is
fair to point out to intending purchasers that the book is
theoretical only, and not intended to take the place of a local
climbers' guide, such as the Roof Climber's Guide to Trinity.""
If you're a fan of free-running, parkour, buildering and, of
course, wall and roof climbing, then this fascinating book will
make your day.
OTHER UNMISSABLE NIGHT CLIMBING TITLES FROM OLEANDER: The Bible
of All Climbing Disciplines - The Night Climbers of Cambridge by
Whipplesnaith (Cut and Paste 9781909349551 to search)
The Original Night Climbing title - The Roof-Climber's Guide to
Trinity - Omnibus Edition (Cut and Paste 9780900891922)
A new critical assessment of the works of the Austrian-Jewish
author, in whom there has been a recent resurgence of interest,
from the perspective of world literature. The twenty-first century
has seen a renewed surge of cultural and critical interest in the
works of the Austrian-Jewish author Stefan Zweig (1881-1942), who
was among the most-read and -acclaimed authors worldwide in the
1920s and1930s but after 1945 fell into critical disfavor and
relative obscurity. The resurgence in interest in Zweig and his
works is attested to by, among other things, new English
translations and editions of his works; a Brazilian motion picture
and a best-selling French novel about his final days; and a renewed
debate surrounding the literary quality of his work in the London
Review of Books. This global return to Zweig calls for a critical
reassessment of his legacy and works, which the current collection
of essays provides by approaching them from a global perspective as
opposed to the narrow European focus through which they have been
traditionally approached. Together, theintroduction and twelve
essays engage the totality of Zweig's published and unpublished
works from his drama and his fiction to his letters and his
biographies, and from his literary and art criticism to his
autobiography. Contributors: Richard V. Benson, Jeffrey B. Berlin,
Darien J. Davis, Marlen Eckl, Mark H. Gelber, Robert Kelz, Klemens
Renoldner, Birger Vanwesenbeeck, John Warren, Klaus Weissenberger,
Robert Weldon Whalen, Geoffrey Winthrop-Young. Birger Vanwesenbeeck
is Associate Professor of English at the State University of New
York at Fredonia. Mark H. Gelber is Senior Professor of Comparative
Literature and German-Jewish Studies at Ben-Gurion University of
the Negev, Israel.
|
Freedom - Poems
Geoffrey Winthrop Young
|
R495
Discovery Miles 4 950
|
Ships in 10 - 15 working days
|
TURN-OF-THE-CENTURY EXTREME SPORT The distant towers of the Great,
New and Cloister Courts looming against the dark sky, lit by the
flickering lamps far below; the gradations of light and shadow,
marked by an occasional moving black speck seemingly in another
world; the sheer wall descending into darkness at his side, above
which he has been half-suspended on his long ascent; the almost
invisible barrier that the battlements from which he started seem
to make to his terminating in the Cloisters if his arm slips; all
contribute to making this deservedly esteemed the finest view point
in the College Alps. By turns sage and foolhardy, the advice
contained within represents the cumulative experience of three
inquisitive, ambitious and daring men - the authors of the three
editions of The Roof-Climber's Guide to Trinity - and their
accomplices. Geoffrey Winthrop-Young, John Hurst andRichard
Williams were each their generations' luminaries in an historic
sport, now known as Night Climbing; one by its very nature sparsely
populated and largely anonymous. THE ORIGINAL NIGHT CLIMBING
CLASSIC This Omnibus Edition contains the full texts and images
from each of those editions, as well as the appendices to the First
Edition, and features a special introduction by Richard Williams,
author of the Third Edition, in which he details the collected
wisdom and history of Night Climbing, andfinally removes the cloak
of anonymity that has until now protected the identities of those
first intrepid nocturnal explorers. Although many may baulk at the
methods described in the narrative, few could question the
diligence spent obtaining that content, or deny the impeccable
locution and erudition displayed in presenting the illicit
achievements in this cult classic. As the Guide itself posits, its
existence will have been justified if it has succeeded in providing
the young stegophilist making his first night venture upon the
Trinity Roofs with a clue, however poor, to the creditable
unravelling of their somewhat complex mazes. OTHER UNMISSABLE NIGHT
CLIMBING TITLES FROM OLEANDER: The Bible of All Climbing
Disciplines - The Night Climbers of Cambridge by Whipplesnaith Cut
and Paste 9781909349551 to search)
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
|
You may like...
Higher
Michael Buble
CD
(1)
R459
Discovery Miles 4 590
Loot
Nadine Gordimer
Paperback
(2)
R383
R318
Discovery Miles 3 180
|