An ever-increasing proportion of our lives is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computers and cash machines. This invasion of the world by what Marc Augé calls “non-space” results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Augé uses the concept of “supermodernity” to describe a situation of excessive information and excessive space. In this fascinating essay he seeks to establish an intellectual armature for an anthropology of supermodernity.
Tourists climb the Eiffel Tower to see Paris. Parisians know that to really see the city you must descend into the metro. In this revelatory book, Marc Auge takes readers below Paris in a work that is both an ethnography of the city and a personal narrative. Guiding us through history, memory, and physical space, Auge juxtaposes the romance of the metro with the reality of multiethnic urban France. His work is part autobiography, with impressions from a lifetime riding the trains; part meditation on self and memory reflected in the people and places underneath Paris; part analysis of a place where the third world and the first world meet, where remnants of cultures move and press together; and part a reflection on anthropology in an era of globalization and urban development. Although he is a pillar of French thought, In the Metro is Auge's first major critical and creative work translated into English. It shows him to be firmly rooted in a tradition of literary ethnography that reaches back to Claude Levi-Strauss and Michel de Certeau, but also engaged in current theoretical debates in literary and cultural studies. In Auge's idiosyncratic and innovative approach, the act of observing the quotidian is elevated to an art. The writer and his history become part of the field he observes, and anthropology interacts with a site -- urban life -- usually reserved for sociology and cultural studies. Throughout, Auge reveals a passion for his milieu, seeing the metro as a place rich with history and literature -- an eclectic egalitarian society.
An ever-increasing proportion of our lives is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computers and cash machines. This invasion of the world by what Marc Augé calls "non-space" results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Augé uses the concept of "supermodernity" to describe a situation of excessive information and excessive space. In this fascinating essay he seeks to establish an intellectual armature for an anthropology of supermodernity.
Continues Augé's critical exploration of contemporary modernity with an examination of the role of dreams, myth and fiction in the age of satellite TV and the Internet.
Marc Augé was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a profound effect on him. Like cinephiles everywhere, Augé was instantly drawn to Rick Blaine's mysterious past, his friendship with Sam and Captain Renault, and Ilsa's stirring, seductive beauty. The film-with its recurring scenes of waiting, menace, and flight-occupies a significant place in Augé's own memory of his uprooted childhood and the wartime exploits of his family. Marc Augé's elegant and thoughtful essay on film and the nature of both personal and collective memory contends that some of our most haunting memories are deeply embedded in the cinema. His own recollections of the hurried, often chaotic embarkations of his childhood, he writes, are become intertwined with scenes from Casablanca that have become bigger in his memory through repeated viewings in the movie houses of Paris's Latin Quarter. Seamlessly weaving together film criticism and memoir, Casablanca moves between Augé's insights into the filmgoing experience and his reflections on his own life, the collective trauma of France's wartime history, and how such events as the fall of Paris, the exodus of refugees, and the Occupation-all depicted in the film-were lived and are remembered.
Tourists climb the Eiffel Tower to see Paris. Parisians know that to really see the city you must descend into the metro. In this revelatory book, Marc Auge takes readers below Paris in a work that is both an ethnography of the city and a personal narrative. Guiding us through history, memory, and physical space, Auge juxtaposes the romance of the metro with the reality of multiethnic urban France. His work is part autobiography, with impressions from a lifetime riding the trains; part meditation on self and memory reflected in the people and places underneath Paris; part analysis of a place where the third world and the first world meet, where remnants of cultures move and press together; and part a reflection on anthropology in an era of globalization and urban development. Although he is a pillar of French thought, In the Metro is Auge's first major critical and creative work translated into English. It shows him to be firmly rooted in a tradition of literary ethnography that reaches back to Claude Levi-Strauss and Michel de Certeau, but also engaged in current theoretical debates in literary and cultural studies. In Auge's idiosyncratic and innovative approach, the act of observing the quotidian is elevated to an art. The writer and his history become part of the field he observes, and anthropology interacts with a site -- urban life -- usually reserved for sociology and cultural studies. Throughout, Auge reveals a passion for his milieu, seeing the metro as a place rich with history and literature -- an eclectic egalitarian society.
An ever-increasing proportion of our lives is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computers and cash machines. This invasion of the world by what Marc Augé calls "non-space" results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Augé uses the concept of "supermodernity" to describe a situation of excessive information and excessive space. In this fascinating essay he seeks to establish an intellectual armature for an anthropology of supermodernity.
For Marc Aug, best-selling author of Non-Places, the prevailing idea of "the Future" rests on our present fears of the contemporary world. It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Aug finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.
An ever-increasing proportion of our lives is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computers and cash machines. This invasion of the world by what Marc Augé calls “non-space” results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Augé uses the concept of “supermodernity” to describe a situation of excessive information and excessive space. In this fascinating essay he seeks to establish an intellectual armature for an anthropology of supermodernity.
We are awash in time, savoring a few moments of it; we project ourselves into it, reinvent it, play with it; we take our time or let it slip away: it is the raw material of our imagination. Age, on the other hand, is the detailed account of the days that pass, the one-way view of the years whose total sum when set forth can stupefy us. Age wedges each of us between a date of birth that, at least in the West, we know for certain and an expiration date that, as a general rule, we would like to defer. Time is a freedom, age a constraint." Marc Augé remembers his beloved childhood cat, who seemed to grow wise with age, though her essential nature remained unchanged. He considers our belief that objects mature, when it is our perception of them that evolves over time. He wonders why public demonstrations of affection between the elderly make the young so uncomfortable and why we torture ourselves with regret at what might have been. Time can be liberating, he finds; it is a resource we can squander or relish. Yet age is a burden, bound by our personal and cultural neuroses. With an ethnologist's understanding of construct and practice, Augé isolates age from the development of consciousness, desire, and representations of the self. In bold, eye-opening strokes, he casts age as a physical marker and treats one's youthful approach to the world as the true measure of life's value.
Continues Augé's critical exploration of contemporary modernity with an examination of the role of dreams, myth and fiction in the age of satellite TV and the Internet.
Witness the French anthropologist as we have never seen him before. Marc Augé coined the term “non-place” to describe the ubiquitous airports, hotels, and motorways filled with anonymous individuals. In this new book, he casts his anthropologist’s eye on a subject close to his heart: cycling. With In Praise of the Bicycle, Augé takes us on a two-wheeled ride around our cities and on a personal journey into ourselves. We all remember the thrill of riding a bike for the first time and the joys of cycling. Here he reminds us that these memories are not just personal, but rooted in a time and a place, in a history that is shared with millions of others. Part memoir, part manifesto, Augé’s book celebrates cycling as a way of reconnecting with the places in which we live, and, ultimately, as a necessary alternative to our disconnected world.
CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Zivančevic and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Zivančevic to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde - And What It Means Today. Taken with each other's idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book - Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I'm Taken: The E-Pistolary Poetry of Kit le Minx and Cad - but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors' quest for "harmony" in an altogether imperfect world and literary medium. In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers' superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist's exploration of anti-art and a poet's claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan's theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another's basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually.
For Marc Augé, best-selling author of Non-Places, the prevailing idea of “the Future” rests on our present fears of the contemporary world. It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Augé finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.
The Event of Art presents, in fifty-two modular chapters and over eight hundred pages and images, the works of artist Marc Lafia. The book interweaves essays, notes, photographic archives, and a host of exhibitions wherein Lafia traverses his wide body of work and examines how his early strategies of cultural reading of photography and film, of interface, network culture, and social media, transform into an investigation of materiality itself. If his interest was once the way media becomes the message, his interest later becomes the realm of the sensible and the sensate in themselves. Here he presents art as the medium itself, giving us wide permission to explore and examine our deepest feelings and senses, our world and its becoming. The book is introduced by two essays. The first is by curator and art dealer Mathieu Borysevicz, where he recounts meeting Lafia at his first artist residency, and the many projects they would go on to do together. He introduces Lafia's interest in recording as it becomes digital and computational where "recording is not only memory, and a data structure, but a permutational instrument and ever-changing horizon of iterations." The other introductory essay is by critic Daniel Coffeen, who writes, "while Lafia may not have a traditional medium - there is no such thing anymore - he does in fact have one consistent medium: imaging making itself, its apparati of creation, consumption, and circulation. In fact Lafia's medium is the discourse of art - what it is, how it comes to be, how we experience it." The Event of Art presents the work of art as a complex material and societal event. The event is multiple, a continual becoming of perception, being, materiality, participation, a coming to the senses and the making, shaping and opening to them, not only of one's self, but the world becoming.
First published in Britain in 1966, French Rural History is a study initially given as lectures in Oslo in 1929. It focuses on the fundamental problems of French agrarian history and places them in true perspective. Throughout the work, Marc Bloch analyses the issues in all their complexity and treats them practically, as would a man who was both a historian and a farmer. The work has been celebrated as a work of historical sociology, full of personality and unmistakable insight.
Virtual Reality Über das Eintauchen in neue, von Menschen geschaffene Wirklichkeiten. Mit Beiträgen von Marc Bodmer, Jennifer Beck, Neal Hartman, Tina Sauerländer, Peggy Schoenegge, Maike Thies, Wolfgang Ullrich, Matthias Zehnder und Annina Zwettler. Sechster Band der erfolgreichen Reihe "Edition Digital Culture". Virtual Reality war schon früh auf der Wunschliste der Computerentwickler. Der Traum von der Überwindung der flachen Bilderwelt ist alt und taucht bereits in barocken Kirchenkuppeln auf. Das Zauberwort heisst Immersion, das Eintauchen in eine künstliche Umgebung. Die Digitalisierung hat diesen Traum für Wissenschaft und Wirtschaft nun in greifbare Nähe gebracht.Die zweisprachige Publikation beleuchtet das Potenzial der neuen Formen von Immersion im Bereich der Kultur mit Beispielen aus Film, Fernsehen, Museen, Kunst, Bildung, Unterhaltung und Gaming. Projekte wie Birdly, Desktop Jacob Burckhardt Digital oder das Werk von Mélodie Mousset werden vorgestellt. Seitenblicke auf die Industrie (Medizin, Architektur) ergänzen die Darstellung. Ein umfangreiches Glossar im Anhang erklärt die wichtigsten Begriffe.
From the Preface by Lucien Febvre: MARC BLOCH'S Caracteres originaux de l'histoire ruralefranfaise, which was originally published at Oslo in 1931 and appeared simultaneously at Paris under the imprint Belles Lettres, has long been out of print. As he told me on more than one occasion, he had every intention of bringing out another edition. In Marc Bloch's own mind this was not simply a matter of reissuing the original text. He knew, none better, that time stops for no historian, that every good piece of historical writing needs to be rewritten after twenty years: otherwise the writer has failed in his objective, failed to goad others into testing his foundations and improving on his rasher hypotheses by subjecting them to greater precision. Marc Bloch was not given time to refashion his great book as he would have wished. One wonders whether he would in fact ever have brought himself to do it. I have the impression that the prospect of this somewhat dreary and certainly difficult task (however one may try to avoid it, revision of an earlier work is always hampered by the original design, which offers few easy loopholes for escape) held less appeal than the excitement of conceiving and executing an entirely new book. However this may be, our friend has carried this secret, with so many others, to his grave. The fact remains that one of our historical classics, now more than twenty years old, is due for republication and is here presented to the reader.
This new edition of Marine Mammals of the World describes and illustrates newly discovered and rarely photographed species, making it the most comprehensive and up-to-date identification guide available. This edition continues to meet the research-focused needs of marine biologists and conservation biologists by providing a tremendous influx of new photos, taking advantage of advances in digital and auto-focusing photography, and the emergence of marine mammal studies and "whalewatching" around the world. The book encompasses cetacean, pinniped, and sirenian species, as well as extinct species, and describes basic biology and taxonomic groupings of marine mammals. - Contains superb photographs of every species of marine mammal for accurate identification - Authors possess nearly 80 years of collective experience with almost all of the species and distinctive geographic forms described in the guide - Provides the most detailed and anatomically accurate illustrations currently available, including more than 750 new illustrations - Special emphasis is placed on the identification of species in "problem groups," such as the beaked whales, long-beaked oceanic dolphins, and southern fur seals - Includes a detailed list of sources for more information - Contains updated taxonomy including four new species
This stimulating new book challenges Freud's definition of the uncanny, prevalent in the study of Gothic and Romantic fiction, by reviving the importance of uncertainty in the uncanny. Literary criticism views the uncanny as an expression of the return of the repressed. Falkenberg's expanded definition includes, but is not limited to, the psychoanalytic and instead redefines the uncanny as a cognitive and aesthetic phenomenon. Beyond offering a survey of what David Punter has called «The Theory of the Uncanny», this study places the uncanny in the context of the poetological and philosophical background of the Romantic period. In close readings of two stories that have stood at the center of the debate about the uncanny - E.T.A. Hoffmann's «Sandman» and Ludwig Tieck's «Blond Eckbert» - the author shows how these texts are constructed as uncanny phenomena in themselves. The study traces fairytale elements, framing techniques, and interdependencies between the fictional productions of the protagonists and their «dark fates» to expose how these texts confront the reader with paradoxical decoding instructions. This expanded and revised uncanny not only yields new readings of two classic German short stories, it also leads to a better understanding of the cultural soil that nourished the Romantic Movement.
Authored by three prominent specialists in the field, this text provides comprehensive coverage of diagnostic and treatment modalities for optimal glaucoma management. Revised throughout, this new edition presents the latest guidance in clinical examination, randomized trials, medical treatment, laser therapy, and surgical procedures. Hundreds of illustrations—with many classic black and white figures from the previous editions supplemented with new color images—depict the features of glaucomas and step-by-step procedures for their management, while expanded use of highlighted boxes, lists, and summary tables make the material easy to access. Evidence-based and updated information on all aspects of the glaucomas—including physiology, genetics, interventional trials, and new surgical techniques—offer a well-rounded foundation of knowledge for making the most informed diagnoses and choosing the most effective course of treatment. Combines the cumulative experience of three prominent glaucoma specialists—addressing a full range of clinical needs for practitioners of all levels—for a uniquely written coherent perspective. Includes extensive references to current and historically important sources to provide comprehensive interpretation of the latest medical literature. Synthesizes a classical approach to the glaucomas—based on seven earlier editions spanning over 40 years—with the most up-to-date evidence-based and epidemiologically-derived classifications and outcomes. Coherently correlates with authoritative consensus documents on key areas of glaucoma, drawn up by the world-wide specialists of the World Glaucoma Association, and reprinted in the text. Revamps traditional teachings on the angle closure glaucomas, in concert with the newest international literature and technologies, to keep you up to date on the latest advances. Illustrates detailed surgical interventions applicable to the complete spectrum of clinical settings—from the developing world through contemporary operating rooms. Examines the newest and most promising developments in pharmacology, laser and surgical advances for glaucoma management, to enable you to choose the most effective patient approach. Illustrates invaluable but little-known instruments for clinical and research diagnoses, including optic nerve cupping scales, bleb assessment instruments, and more.
We are awash in time, savoring a few moments of it; we project ourselves into it, reinvent it, play with it; we take our time or let it slip away: it is the raw material of our imagination. Age, on the other hand, is the detailed account of the days that pass, the one-way view of the years whose total sum when set forth can stupefy us. Age wedges each of us between a date of birth that, at least in the West, we know for certain and an expiration date that, as a general rule, we would like to defer. Time is a freedom, age a constraint." Marc Augé remembers his beloved childhood cat, who seemed to grow wise with age, though her essential nature remained unchanged. He considers our belief that objects mature, when it is our perception of them that evolves over time. He wonders why public demonstrations of affection between the elderly make the young so uncomfortable and why we torture ourselves with regret at what might have been. Time can be liberating, he finds; it is a resource we can squander or relish. Yet age is a burden, bound by our personal and cultural neuroses. With an ethnologist's understanding of construct and practice, Augé isolates age from the development of consciousness, desire, and representations of the self. In bold, eye-opening strokes, he casts age as a physical marker and treats one's youthful approach to the world as the true measure of life's value.
With coverage on all the marine mammals of the world, authors Jefferson, Webber, and Pitman have created a user-friendly guide to identify marine mammals alive in nature (at sea or on the beach), dead specimens "in hand, and also to identify marine mammals based on features of the skull. This handy guide provides marine biologists and interested lay people with detailed descriptions of diagnostic features, illustrations of external appearance, beautiful photographs, dichotomous keys, and more. Full color illustrations and vivid photographs of every living marine mammal species are incorporated, as well as comprehendible maps showing a range of information. For readers who desire further consultation, authors have included a list of literature references at the end of each species account. For an enhanced understanding of habitation, this guide also includes recognizable geographic forms described separately with colorful paintings and photographs. All of these essential tools provided make Marine Mammals of the World the most detailed and authoritative guide available!* Contains superb photographs of every species of marine mammal for accurate identification * Authors' collective experience adds up to 80 years, and have seen nearly all of the species and distinctive geographic forms described in the guide * Provides the most detailed and anatomically accurate illustrations currently available * Special emphasis is placed on the identification of species in "problem groups, such as the beaked whales, long-beaked oceanic dolphin, and southern fur seals * Includes a detailed list of sources for more information at the back of the book.
A detailed guide to the latest endoscopic techniques in interventional pulmonology In Medical Thoracoscopy/Pleuroscopy: Manual and Atlas, international experts explain the current methodology and demonstrate different technical approaches to medical thoracoscopy/pleuroscopy (MT/P) in the diagnosis and treatment of pleuropulmonary diseases. A combination of instructive manual and atlas, this book presents clinical cases with indications, techniques, and outcomes for each procedure. In the 'Atlas', endoscopic photographs demonstrate the application of this minimally invasive technique in various pathologies, from pleural effusion to various manifestations of lung cancer. Features: Diagnostic and therapeutic indications reflect new technology such as the semi-rigid/semi-flexible pleuroscope, CT/MR imaging, and video-assisted thoracoscopic surgery (VATS) Over 150 full-color endoscopic photographs and 120 figures enhance the text An accompanying DVD contains video clips of 8 typical clinical cases, plus practical information on the use of talc poudrage, the induction of a pneumothorax, and more This comprehensive visual guide is an indispensable primer for residents and fellows in pulmonology or pneumology, and for respiratory physicians, internists, or thoracic surgeons. System Requirements for the DVD: Language: English; region code: 0; picture format: 4:3 NTSC; duration: 33 minutes (approximately); disk format: DVD-5.
Oblivion' moves with authority and ease among a wide variety of sources - literature, common experience, psychoanalysis, philosophy, ethnography - to illustrate the interplay of memory and forgetting in the stories of life and death told across many cultures and many times.
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