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.

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.