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Part of a series that offers mainly linguistic and anthropological
research and teaching/learning material on a region of great
cultural and strategic interest and importance in the post-Soviet
era.
Every serious student of Japanese needs a reliable and
user-friendly dictionary in their collection. Tuttle Concise
Japanese Dictionary, now with 30% more content, is a thoroughly
updated dictionary designed for students and business people who
are living in Japan and using the Japanese language on a daily
basis. Its most significant advantage is that it contains recent
idiomatic expressions and slang which have become popular in the
past several years and which are not found in other competing
dictionaries. The dictionary has been thoroughly updated through
the addition of modern vocabulary relating to computers, mobile
phones, social media and the Internet. Other special features that
set this dictionary apart include: Over 25,000 words and
expressions including idioms and slang. User-friendly layout with
main entries in color. Complete Japanese-English, and
English-Japanese sections. Romanized forms and the Japanese script
are given for all Japanese words. A guide to pronunciation helps
the user to pronounce Japanese words correctly. Different senses of
each word are distinguished by multiple definitions.
This handy Japanese dictionary allows you to look up words quickly
and easily and be understood while speaking. Intended for use by
tourists, students, and business people traveling to Japan, the
Pocket Japanese Dictionary is an essential tool for communicating
in Japanese. It features all the essential Japanese vocabulary
appropriate for beginning to intermediate speakers. Its handy
pocket format and user-friendly, two-colour layout will make any
future language class or trip to Japan much easier. All entries are
in Romanized form as well as Japanese script (Kanji and Kana) so
that, in case of difficulties, the book can simply be shown to the
person the user is trying to communicate with. This dictionary
includes the following key features: Over 18,000 words and
expressions in the Japanese language. Japanese English and English
Japanese sections. Fully updated with recent vocabulary and
commonly used Japanese slang. Clear, user-friendly layout with
headwords in blue. Romanized script and Japanese script (hiragana
and katakana) and characters (kanji) for every entry. Other books
from this best-selling series you might enjoy include: Pocket
Korean Dictionary, Pocket Vietnamese Dictionary, Pocket Mandarin
Chinese Dictionary, and Pocket Cantonese Dictionary.
A compelling and innovative reflection on the way photography
captures and condenses time Two photographs, connected by a ladder,
separated by a century. First, William Henry Fox Talbot
photographed a faithfully realistic image of a ladder against a
haystack in the English countryside.One hundred years later, an
anonymous photographer captured another ladder, "photographed"
alongside an incinerated man by the blinding light of the atomic
bomb. These two images underpin a poetic and theoretical reflection
on the origins of photographic technique, the imaginative power of
montage, and the relation of photography to time itself in
Jean-Christophe Bailly's The Instant and Its Shadow, translated
into English for the very first time. A rare find of intellectual
caliber and theoretical rigor, The Instant and Its Shadow pursues a
unique and powerful reflection on the first hundred years of
photography's history and on the essence of the photographic art in
general. Inspired by the unexpected coming together of these two
iconic images, the book begins by retracing Talbot's invention of
the photographic calotype in the early nineteenthcentury,
highlighting the paradox that saw Talbot wishing to imitate the
representative arts of painting and drawing while simultaneously
liberating the image from any imitative paradigm. This analysis
leads Bailly to elucidate photography's relation to material and
visual reality. A meditation on photography's seeming ability to
stop time follows, concluding with the photographs of Hiroshima and
the photographic nature of the atomic bomb. Building on an inspired
juxtaposition of The Haystack with the Hiroshima photographs, the
book becomes a testament to the potency of photomontage, arguing
that "the more singular an image, the greater its connective
power." Bailly's book is at once a lyrical homage to some of the
founding texts of photographic theory and a startling reminder of
the uncanny power of photography itself. Part theoretical
reflection, part lyrical reverie, The Instant and Its Shadow is
packed with profound and stellar insights about the medium.
A compelling and innovative reflection on the way photography
captures and condenses time Two photographs, connected by a ladder,
separated by a century. First, William Henry Fox Talbot
photographed a faithfully realistic image of a ladder against a
haystack in the English countryside.One hundred years later, an
anonymous photographer captured another ladder, "photographed"
alongside an incinerated man by the blinding light of the atomic
bomb. These two images underpin a poetic and theoretical reflection
on the origins of photographic technique, the imaginative power of
montage, and the relation of photography to time itself in
Jean-Christophe Bailly's The Instant and Its Shadow, translated
into English for the very first time. A rare find of intellectual
caliber and theoretical rigor, The Instant and Its Shadow pursues a
unique and powerful reflection on the first hundred years of
photography's history and on the essence of the photographic art in
general. Inspired by the unexpected coming together of these two
iconic images, the book begins by retracing Talbot's invention of
the photographic calotype in the early nineteenthcentury,
highlighting the paradox that saw Talbot wishing to imitate the
representative arts of painting and drawing while simultaneously
liberating the image from any imitative paradigm. This analysis
leads Bailly to elucidate photography's relation to material and
visual reality. A meditation on photography's seeming ability to
stop time follows, concluding with the photographs of Hiroshima and
the photographic nature of the atomic bomb. Building on an inspired
juxtaposition of The Haystack with the Hiroshima photographs, the
book becomes a testament to the potency of photomontage, arguing
that "the more singular an image, the greater its connective
power." Bailly's book is at once a lyrical homage to some of the
founding texts of photographic theory and a startling reminder of
the uncanny power of photography itself. Part theoretical
reflection, part lyrical reverie, The Instant and Its Shadow is
packed with profound and stellar insights about the medium.
A model of structural linguistic analysis as well as a teaching
tool, this text gives the student a comprehensive grasp of the
essentials of modern Korean in 25 lessons, with 5 review lessons,
leading to advanced levels of proficiency. It has been designed for
adult students working either in classes or by themselves, with the
assistance of native speakers or tape recordings.
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Bark (Hardcover)
Georges Didi-Huberman; Translated by Samuel E. Martin
bundle available
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R470
R381
Discovery Miles 3 810
Save R89 (19%)
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Ships in 9 - 15 working days
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A noted French thinker's poignant reflections, in words and
photographs, on his visit to Auschwitz-Birkenau. On a visit to
Auschwitz-Birkenau, Georges Didi-Huberman tears three pieces of
bark from birch trees on the edge of the site. Looking at these
pieces after his return home, he sees them as letters, a flood, a
path, time, memory, flesh. The bark serves as a springboard to
Didi-Huberman's meditations on his visit, recorded in this spare,
poetic, and powerful book. Bark is a personal account, drawing not
on the theoretical apparatus of scholarship but on Didi-Huberman's
own history, memory, and knowledge. The text proceeds as a series
of reflections, accompanied by Didi-Huberman's photographs of the
visit. The photographs are not meant to be art-Didi-Huberman
confesses that he "photographed practically everything without
looking"-but approach it nevertheless. Didi-Huberman tells us that
his grandparents died at Auschwitz, but his account is more
universal than biographical. As he walks from place to place, he
observes that in German birches are birken; Birkenau designates the
meadow where the birches grow. Didi-Huberman sees and photographs
the "reconstructed" execution wall; the floors of the crematorium,
forgotten witnesses to killing; and the birch trees, lovely but
also resembling prison bars. Taking his own photographs, he thinks
of the famous photographs taken in 1944 by a member of the
Sonderkommando, the only photographic documentation of the camp
before the Germans destroyed it, hoping to hide the evidence of
their crimes. Didi-Huberman notices a "bizarre proliferation of
white flowers on the exact spot of the cremation pits." The dead
are not departed.
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