Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another. Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary. As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion.

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Poet, novelist, translator, scholar, and critical essayist extraordinaire, Ammiel Alcalay’s intrepid work has always moved across geographic, chronological, political, and linguistic borders. “FOLLOW THE PERSON”: Archival Encounters gathers a dizzying array of texts by Alcalay written over the past fifteen years, all of them having something to do with archival materials. In Alcalay’s case, however, these archives range from more traditional, institutionally-held materials and personal collections to the use of his own experiences and memories as sources for redrawing cultural maps that have too long been divided along sectarian lines of one kind or another. Moving from the Beats and the Black Arts Movement to the Middle East, “FOLLOW THE PERSON” recalibrates our sense of living history while offering new possibilities for encounters that have been relegated to oblivion or never even imagined. Culled from a variety of eclectic sources and contexts, encountering these essays together offers a completely different experience of Alcalay’s essays, one that argues for a methodology based on minutely recorded events and historical contexts, and for necessary human and cultural encounters that provide models for a new, reinvigorated critical vocabulary. As Miriam Nichols writes in her Introduction, “Follow the tenuous threads in this collection of writings and you may end up at the looted National Museum in Baghdad during the American invasion, or in the Hoover Institute at Stanford University where most Iraqi state archives wound up. You may find yourself at Bashcharshiya, the market in Sarajevo during the Bosnian war, or in Palestine, on May 14, 1948. Maybe, if you are keen, you will pick up the thread that leads to 17th-century colonial Massachusetts, or perhaps you will stay in New York, rummaging through garbage cans with Diane di Prima, looking for journals and letters tossed out by a lover.” Whichever path you take, you will find multiple worlds, all rendered by Alcalay with light and compassion.

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"Questo lavoro si occupa del lobbying da un punto di vista giuridico, e in particolare giuridico-costituzionale (comparato): analizza cioè come questa pratica, il cui impatto sul processo democratico è molto elevato e in costante crescita, sia disciplinata, e soprattutto quale sia il quadro costituzionale in cui tale regolamentazione si muova, e che cosa questo ci dica sul sistema giuridico nel suo complesso in alcuni ordinamenti particolarmente significativi: Usa, Europa (UE e Consiglio d’Europa) e Italia”. (Dal testo)

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"Questo lavoro si occupa del lobbying da un punto di vista giuridico, e in particolare giuridico-costituzionale (comparato): analizza cioè come questa pratica, il cui impatto sul processo democratico è molto elevato e in costante crescita, sia disciplinata, e soprattutto quale sia il quadro costituzionale in cui tale regolamentazione si muova, e che cosa questo ci dica sul sistema giuridico nel suo complesso in alcuni ordinamenti particolarmente significativi: Usa, Europa (UE e Consiglio d’Europa) e Italia”. (Dal testo)

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Esta investigación aborda uno de los períodos más conflictivos de la historia argentina, los años comprendidos entre los golpes de Estado de 1955, que terminó con el gobierno peronista, y el de 1966, que cortó la breve presidencia de Illia. Lo hace atendiendo a los actores políticos que protagonizaron esa época pero que, por olvido, deliberada omisión o simple desinterés, han quedado marginados de la historiografía argentina: los militantes del Movimiento Nacionalista Tacuara. El tema central es la conformación de las identidades políticas de los partícipes de esa experiencia. La hipótesis de trabajo plantea que, desde la caída del peronismo hasta mediados de la década del sesenta, en ciertos sectores del nacionalismo de derecha, se articula, define y redefine una identidad política original, construida sobre dos elementos centrales de la cultura política del período. Por un lado, la militancia, entendida como espacio de expresión de un conjunto heterogéneo de ideas, prácticas y proyectos con un horizonte de cambio político y social más o menos definido, no necesariamente revolucionario si se toma como referencia el pensamiento de la izquierda contemporánea. Por otro, la violencia como vía de resolución de los conflictos políticos, y como única forma de apelación para producir el cambio antes referido.

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Esta investigación aborda uno de los períodos más conflictivos de la historia argentina, los años comprendidos entre los golpes de Estado de 1955, que terminó con el gobierno peronista, y el de 1966, que cortó la breve presidencia de Illia. Lo hace atendiendo a los actores políticos que protagonizaron esa época pero que, por olvido, deliberada omisión o simple desinterés, han quedado marginados de la historiografía argentina: los militantes del Movimiento Nacionalista Tacuara. El tema central es la conformación de las identidades políticas de los partícipes de esa experiencia. La hipótesis de trabajo plantea que, desde la caída del peronismo hasta mediados de la década del sesenta, en ciertos sectores del nacionalismo de derecha, se articula, define y redefine una identidad política original, construida sobre dos elementos centrales de la cultura política del período. Por un lado, la militancia, entendida como espacio de expresión de un conjunto heterogéneo de ideas, prácticas y proyectos con un horizonte de cambio político y social más o menos definido, no necesariamente revolucionario si se toma como referencia el pensamiento de la izquierda contemporánea. Por otro, la violencia como vía de resolución de los conflictos políticos, y como única forma de apelación para producir el cambio antes referido.

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What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement. In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects. Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains.

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What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement. In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects. Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains.

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What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement. In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects. Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains.

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What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement. In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects. Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains.

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There are over 300 print editions of this Christmas classic in our database. We've chosen to highlight a 1912 edition curated by Oxford University, with illustrations by Jessie Willcox Smith. Hope you enjoy it!

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There are over 300 print editions of this Christmas classic in our database. We've chosen to highlight a 1912 edition curated by Oxford University, with illustrations by Jessie Willcox Smith. Hope you enjoy it!

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"((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes. The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era."

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"((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes. The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era."

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O leitor encontrará neste livro o resultado de pesquisas científicas sobre temas que fundam a educação problematizam princípios e práticas atuais da educação escolarizada. Sem abandonar as antigas concepções de educação e também sem valorizar apenas as novidades teóricas, os autores apostam numa sólida união entre Psique e Eros, inspirada nas concepções de Freud. A obra abrange estudos sobre o lúdico na educação infantil, a ética, os afetos, o valor da fantasia na aprendizagem e no desenvolvimento emocional, a constituição profissional de docentes e pesquisadores, a orientação sexual e a educação escolar. Pertinências e impertinências da educação são consideradas na medida em que produzem e reproduzem valores humanos na construção de identidade pessoal e profissional.

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O leitor encontrará neste livro o resultado de pesquisas científicas sobre temas que fundam a educação problematizam princípios e práticas atuais da educação escolarizada. Sem abandonar as antigas concepções de educação e também sem valorizar apenas as novidades teóricas, os autores apostam numa sólida união entre Psique e Eros, inspirada nas concepções de Freud. A obra abrange estudos sobre o lúdico na educação infantil, a ética, os afetos, o valor da fantasia na aprendizagem e no desenvolvimento emocional, a constituição profissional de docentes e pesquisadores, a orientação sexual e a educação escolar. Pertinências e impertinências da educação são consideradas na medida em que produzem e reproduzem valores humanos na construção de identidade pessoal e profissional.

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O leitor encontrará neste livro o resultado de pesquisas científicas sobre temas que fundam a educação problematizam princípios e práticas atuais da educação escolarizada. Sem abandonar as antigas concepções de educação e também sem valorizar apenas as novidades teóricas, os autores apostam numa sólida união entre Psique e Eros, inspirada nas concepções de Freud. A obra abrange estudos sobre o lúdico na educação infantil, a ética, os afetos, o valor da fantasia na aprendizagem e no desenvolvimento emocional, a constituição profissional de docentes e pesquisadores, a orientação sexual e a educação escolar. Pertinências e impertinências da educação são consideradas na medida em que produzem e reproduzem valores humanos na construção de identidade pessoal e profissional.

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O leitor encontrará neste livro o resultado de pesquisas científicas sobre temas que fundam a educação problematizam princípios e práticas atuais da educação escolarizada. Sem abandonar as antigas concepções de educação e também sem valorizar apenas as novidades teóricas, os autores apostam numa sólida união entre Psique e Eros, inspirada nas concepções de Freud. A obra abrange estudos sobre o lúdico na educação infantil, a ética, os afetos, o valor da fantasia na aprendizagem e no desenvolvimento emocional, a constituição profissional de docentes e pesquisadores, a orientação sexual e a educação escolar. Pertinências e impertinências da educação são consideradas na medida em que produzem e reproduzem valores humanos na construção de identidade pessoal e profissional.

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O leitor encontrará neste livro o resultado de pesquisas científicas sobre temas que fundam a educação problematizam princípios e práticas atuais da educação escolarizada. Sem abandonar as antigas concepções de educação e também sem valorizar apenas as novidades teóricas, os autores apostam numa sólida união entre Psique e Eros, inspirada nas concepções de Freud. A obra abrange estudos sobre o lúdico na educação infantil, a ética, os afetos, o valor da fantasia na aprendizagem e no desenvolvimento emocional, a constituição profissional de docentes e pesquisadores, a orientação sexual e a educação escolar. Pertinências e impertinências da educação são consideradas na medida em que produzem e reproduzem valores humanos na construção de identidade pessoal e profissional.

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O leitor encontrará neste livro o resultado de pesquisas científicas sobre temas que fundam a educação problematizam princípios e práticas atuais da educação escolarizada. Sem abandonar as antigas concepções de educação e também sem valorizar apenas as novidades teóricas, os autores apostam numa sólida união entre Psique e Eros, inspirada nas concepções de Freud. A obra abrange estudos sobre o lúdico na educação infantil, a ética, os afetos, o valor da fantasia na aprendizagem e no desenvolvimento emocional, a constituição profissional de docentes e pesquisadores, a orientação sexual e a educação escolar. Pertinências e impertinências da educação são consideradas na medida em que produzem e reproduzem valores humanos na construção de identidade pessoal e profissional.

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A single mother teaches high school literature, parents her young son, and fights through a day. 1 Day, a novelette, was first published by the literary journal Prick of the Spindle.

From 1 Day:
"She thinks about making a new letter grade with the top paper on the stack and rolling a J, but she hasn’t smoked pot in a decade and she has a dependent relationship with her job and she doubts it’d be the responsible decision with Max asleep upstairs. She believes in free choice, but she hasn’t encountered it lately, and she’d prefer that her 4-year-old not spark up for a while yet. She gets a beer. She writes some things on some papers. Some advice on spelling, grammar, logic. She makes no suggestions about having worthwhile ideas, or pursuing worthwhile objectives. Spelling has rules, grammar has logic, logic has … She corrects ellipses use. She invents some new letters to write at the top of the first pages. Or rather borrows, a CH from Spanish, an Å from Danish, an Œ from Latin; she doesn't know how to invent a letter."

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A single mother teaches high school literature, parents her young son, and fights through a day. 1 Day, a novelette, was first published by the literary journal Prick of the Spindle.

From 1 Day:
"She thinks about making a new letter grade with the top paper on the stack and rolling a J, but she hasn’t smoked pot in a decade and she has a dependent relationship with her job and she doubts it’d be the responsible decision with Max asleep upstairs. She believes in free choice, but she hasn’t encountered it lately, and she’d prefer that her 4-year-old not spark up for a while yet. She gets a beer. She writes some things on some papers. Some advice on spelling, grammar, logic. She makes no suggestions about having worthwhile ideas, or pursuing worthwhile objectives. Spelling has rules, grammar has logic, logic has … She corrects ellipses use. She invents some new letters to write at the top of the first pages. Or rather borrows, a CH from Spanish, an Å from Danish, an Œ from Latin; she doesn't know how to invent a letter."

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A single mother teaches high school literature, parents her young son, and fights through a day. 1 Day, a novelette, was first published by the literary journal Prick of the Spindle.

From 1 Day:
"She thinks about making a new letter grade with the top paper on the stack and rolling a J, but she hasn’t smoked pot in a decade and she has a dependent relationship with her job and she doubts it’d be the responsible decision with Max asleep upstairs. She believes in free choice, but she hasn’t encountered it lately, and she’d prefer that her 4-year-old not spark up for a while yet. She gets a beer. She writes some things on some papers. Some advice on spelling, grammar, logic. She makes no suggestions about having worthwhile ideas, or pursuing worthwhile objectives. Spelling has rules, grammar has logic, logic has … She corrects ellipses use. She invents some new letters to write at the top of the first pages. Or rather borrows, a CH from Spanish, an Å from Danish, an Œ from Latin; she doesn't know how to invent a letter."

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Published

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Published

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Published

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This book takes a single line of code--the extremely concise BASIC program for the Commodore 64 inscribed in the title--and uses it as a lens through which to consider the phenomenon of creative computing and the way computer programs exist in culture. The authors of this collaboratively written book treat code not as merely functional but as a text--in the case of 10 PRINT, a text that appeared in many different printed sources--that yields a story about its making, its purpose, its assumptions, and more. They consider randomness and regularity in computing and art, the maze in culture, the popular BASIC programming language, and the highly influential Commodore 64 computer.

Purchase options at 10print.org support The Electronic Literature Organization and The MIT Press.

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There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language.

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There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language.

Listed by Unglue.it.

There are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language.

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"1918" signifies more than the end of the First World War. The reference to the year often also justifies narratives in the history of education. On the other hand, this volume explores the simultaneities of caesurae and traditions, ruptures and continuities in regional, national, European and global perspectives. It examines diverse paradoxes of supposedly old and new pedagogical cultures and practices as well as ambivalences of youth between rebellion and attachment to educational ideals. It also focuses on the questioning of schools and pedagogy, their relegitimisation and the intertwining of social democracy and socialism with educational reforms and traditions. In this way, the volume aims at the often described "clash of ideologies" in the interwar period and at the circulation of competing knowledge, so that it discusses the complex openness of 1918 in terms of educational history.

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"1918" signifies more than the end of the First World War. The reference to the year often also justifies narratives in the history of education. On the other hand, this volume explores the simultaneities of caesurae and traditions, ruptures and continuities in regional, national, European and global perspectives. It examines diverse paradoxes of supposedly old and new pedagogical cultures and practices as well as ambivalences of youth between rebellion and attachment to educational ideals. It also focuses on the questioning of schools and pedagogy, their relegitimisation and the intertwining of social democracy and socialism with educational reforms and traditions. In this way, the volume aims at the often described "clash of ideologies" in the interwar period and at the circulation of competing knowledge, so that it discusses the complex openness of 1918 in terms of educational history.

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Neste nosso atribulado e turbulento século XX a criação do Estado de Israel é sem dúvida um acontecimento marcante. Com isso concretizou-se um sonho, um ideal, uma aspiração quase bimilenar. Foi precedido, porém, por um período – poderíamos chamá-lo de preparatório – longo e difícil, repleto de obstáculos, desilusões e sacrifícios. [trecho retirado da introdução do livro]

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Neste nosso atribulado e turbulento século XX a criação do Estado de Israel é sem dúvida um acontecimento marcante. Com isso concretizou-se um sonho, um ideal, uma aspiração quase bimilenar. Foi precedido, porém, por um período – poderíamos chamá-lo de preparatório – longo e difícil, repleto de obstáculos, desilusões e sacrifícios. [trecho retirado da introdução do livro]

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Neste nosso atribulado e turbulento século XX a criação do Estado de Israel é sem dúvida um acontecimento marcante. Com isso concretizou-se um sonho, um ideal, uma aspiração quase bimilenar. Foi precedido, porém, por um período – poderíamos chamá-lo de preparatório – longo e difícil, repleto de obstáculos, desilusões e sacrifícios. [trecho retirado da introdução do livro]

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In 2010, President Barack Obama signed a law repealing one of the most controversial policies in American criminal justice history: the one hundred to one sentencing disparity between crack cocaine and powder whereby someone convicted of “simply” possessing five grams of crack—the equivalent of a few sugar packets—had been required by law to serve no less than five years in prison. In this highly original work, Dimitri A. Bogazianos draws on various sources to examine the profound symbolic consequences of America’s reliance on this punishment structure, tracing the rich cultural linkages between America’s War on Drugs, and the creative contributions of those directly affected by its destructive effects. Focusing primarily on lyrics that emerged in 1990s New York rap, which critiqued the music industry for being corrupt, unjust, and criminal, Bogazianos shows how many rappers began drawing parallels between the “rap game” and the “crack game." He argues that the symbolism of crack in rap’s stance towards its own commercialization represents a moral debate that is far bigger than hip hop culture, highlighting the degree to which crack cocaine—although a drug long in decline—has come to represent the entire paradoxical predicament of punishment in the U.S. today.

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In 2010, President Barack Obama signed a law repealing one of the most controversial policies in American criminal justice history: the one hundred to one sentencing disparity between crack cocaine and powder whereby someone convicted of “simply” possessing five grams of crack—the equivalent of a few sugar packets—had been required by law to serve no less than five years in prison. In this highly original work, Dimitri A. Bogazianos draws on various sources to examine the profound symbolic consequences of America’s reliance on this punishment structure, tracing the rich cultural linkages between America’s War on Drugs, and the creative contributions of those directly affected by its destructive effects. Focusing primarily on lyrics that emerged in 1990s New York rap, which critiqued the music industry for being corrupt, unjust, and criminal, Bogazianos shows how many rappers began drawing parallels between the “rap game” and the “crack game." He argues that the symbolism of crack in rap’s stance towards its own commercialization represents a moral debate that is far bigger than hip hop culture, highlighting the degree to which crack cocaine—although a drug long in decline—has come to represent the entire paradoxical predicament of punishment in the U.S. today.

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In Hollywood, Cary Grant has grown weary of cinema's constant glamour, but Her Majesty's Secret Service will break his malaise with a bizarre diplomatic mission. In Naples, Lucky Luciano fixes horse races and launches the global heroin trade. And in Bologna, a bartender searches for true love and his missing communist father.

Set during the height of the Cold War-with the world divided into East and West-54 features Italian partisans, KGB agents, Parisian lowlifes, and cameos by David Niven, Marshal Tito, and Grace Kelly. Wu Ming brings us a cinematic romp that is by turns edgy social satire and modern comic send up.

Translation by Shaun Whiteside. Print original Italian version and other translations available from Wu Ming Foundation

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In Hollywood, Cary Grant has grown weary of cinema's constant glamour, but Her Majesty's Secret Service will break his malaise with a bizarre diplomatic mission. In Naples, Lucky Luciano fixes horse races and launches the global heroin trade. And in Bologna, a bartender searches for true love and his missing communist father.

Set during the height of the Cold War-with the world divided into East and West-54 features Italian partisans, KGB agents, Parisian lowlifes, and cameos by David Niven, Marshal Tito, and Grace Kelly. Wu Ming brings us a cinematic romp that is by turns edgy social satire and modern comic send up.

Translation by Shaun Whiteside. Print original Italian version and other translations available from Wu Ming Foundation

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In Hollywood, Cary Grant has grown weary of cinema's constant glamour, but Her Majesty's Secret Service will break his malaise with a bizarre diplomatic mission. In Naples, Lucky Luciano fixes horse races and launches the global heroin trade. And in Bologna, a bartender searches for true love and his missing communist father.

Set during the height of the Cold War-with the world divided into East and West-54 features Italian partisans, KGB agents, Parisian lowlifes, and cameos by David Niven, Marshal Tito, and Grace Kelly. Wu Ming brings us a cinematic romp that is by turns edgy social satire and modern comic send up.

Translation by Shaun Whiteside. Print original Italian version and other translations available from Wu Ming Foundation

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You probably use Google everyday, but do you know... the Google Snake Game? Googledromes? Memecodes? Googlesport? The Google Calculator? Googlepark and Google Weddings? Google hacking, fighting and rhyming? In this book, you’ll find Google-related games, cartoons, oddities, tips, stories and everything else that’s fun. Reading it, you won’t be the same searcher as before! (From the author of Google Blogoscoped.)

Print available from the book's homepage.

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You probably use Google everyday, but do you know... the Google Snake Game? Googledromes? Memecodes? Googlesport? The Google Calculator? Googlepark and Google Weddings? Google hacking, fighting and rhyming? In this book, you’ll find Google-related games, cartoons, oddities, tips, stories and everything else that’s fun. Reading it, you won’t be the same searcher as before! (From the author of Google Blogoscoped.)

Print available from the book's homepage.

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You probably use Google everyday, but do you know... the Google Snake Game? Googledromes? Memecodes? Googlesport? The Google Calculator? Googlepark and Google Weddings? Google hacking, fighting and rhyming? In this book, you’ll find Google-related games, cartoons, oddities, tips, stories and everything else that’s fun. Reading it, you won’t be the same searcher as before! (From the author of Google Blogoscoped.)

Print available from the book's homepage.

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Este livro deriva diretamente do amor de um brasileiro pelo Brasil, da solicitude de um americano pela América. Começou no momento indeterminado em que nasceram esses sentimentos; exprime um pouco o desejo de ver esta pátria feliz, próspera, adiantada e livre. Foram esses sentimentos que me arrastaram o espírito para refletir sobre essas coisas, e o fizeram trabalhar essas ideias – o desejo vivo de conhecer os motivos dos males de que nos queixamos todos. Desse modo, as notações, as analogias, as observações, as reflexões se acumularam.[Trecho retirado da advertência do livro]

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Este livro deriva diretamente do amor de um brasileiro pelo Brasil, da solicitude de um americano pela América. Começou no momento indeterminado em que nasceram esses sentimentos; exprime um pouco o desejo de ver esta pátria feliz, próspera, adiantada e livre. Foram esses sentimentos que me arrastaram o espírito para refletir sobre essas coisas, e o fizeram trabalhar essas ideias – o desejo vivo de conhecer os motivos dos males de que nos queixamos todos. Desse modo, as notações, as analogias, as observações, as reflexões se acumularam.[Trecho retirado da advertência do livro]

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Este livro deriva diretamente do amor de um brasileiro pelo Brasil, da solicitude de um americano pela América. Começou no momento indeterminado em que nasceram esses sentimentos; exprime um pouco o desejo de ver esta pátria feliz, próspera, adiantada e livre. Foram esses sentimentos que me arrastaram o espírito para refletir sobre essas coisas, e o fizeram trabalhar essas ideias – o desejo vivo de conhecer os motivos dos males de que nos queixamos todos. Desse modo, as notações, as analogias, as observações, as reflexões se acumularam.[Trecho retirado da advertência do livro]

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Enfoca a formação das cidades paulistas criadas junto à antiga Companhia Estrada de Ferro Noroeste do Brasil - atual Novoeste, do início da construção da ferrovia, em 1905, até 1914, data que marca o término da ligação entre Bauru (SP) e Porto Esperança, no atual Mato Grosso do Sul. Nesse período, surgem, a partir das estações, povoados que apresentam certas constantes urbanísticas. Cidades como Lins, Penápolis e Araçatuba merecem análise detalhada. O autor verifica que nelas predominou, desde a sua origem, a lógica da especulação imobiliária e do lucro como base para a vida urbana.

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Enfoca a formação das cidades paulistas criadas junto à antiga Companhia Estrada de Ferro Noroeste do Brasil - atual Novoeste, do início da construção da ferrovia, em 1905, até 1914, data que marca o término da ligação entre Bauru (SP) e Porto Esperança, no atual Mato Grosso do Sul. Nesse período, surgem, a partir das estações, povoados que apresentam certas constantes urbanísticas. Cidades como Lins, Penápolis e Araçatuba merecem análise detalhada. O autor verifica que nelas predominou, desde a sua origem, a lógica da especulação imobiliária e do lucro como base para a vida urbana.

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Enfoca a formação das cidades paulistas criadas junto à antiga Companhia Estrada de Ferro Noroeste do Brasil - atual Novoeste, do início da construção da ferrovia, em 1905, até 1914, data que marca o término da ligação entre Bauru (SP) e Porto Esperança, no atual Mato Grosso do Sul. Nesse período, surgem, a partir das estações, povoados que apresentam certas constantes urbanísticas. Cidades como Lins, Penápolis e Araçatuba merecem análise detalhada. O autor verifica que nelas predominou, desde a sua origem, a lógica da especulação imobiliária e do lucro como base para a vida urbana.

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Enfoca a formação das cidades paulistas criadas junto à antiga Companhia Estrada de Ferro Noroeste do Brasil - atual Novoeste, do início da construção da ferrovia, em 1905, até 1914, data que marca o término da ligação entre Bauru (SP) e Porto Esperança, no atual Mato Grosso do Sul. Nesse período, surgem, a partir das estações, povoados que apresentam certas constantes urbanísticas. Cidades como Lins, Penápolis e Araçatuba merecem análise detalhada. O autor verifica que nelas predominou, desde a sua origem, a lógica da especulação imobiliária e do lucro como base para a vida urbana.

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"Ammiel Alcalay’s groundbreaking work, After Jews and Arabs, published in 1993, redrew the geographic, political, cultural, and emotional map of relations between Jews and Arabs in the Levantine/Mediterranean world over a thousand-year period. Based on over a decade of research and fieldwork in many disciplines—including history and historiography; anthropology, ethnography, and ethnomusicology; political economy and geography; linguistics; philosophy; and the history of science and technology—the book presented a radically different perspective than that presented by received opinion. Given the radical and iconoclastic nature of Alcalay’s perspective, After Jews and Arabs met great resistance in attempts to publish it. Though completed and already circulating in 1989, it didn’t appear until 1993. In addition, when the book was published, there wasn’t enough space to include its original bibliography, a foundational part of the project. A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc. In addition to the bibliography, we include two accompanying texts here. In “Behind the Scenes: Before After Jews and Arabs,” Alcalay takes us behind the closed doors of the academic process, reprinting the original readers reports and his detailed rebuttals, and in “On a Bibliography for After Jews and Arabs,” Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms."

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"Ammiel Alcalay’s groundbreaking work, After Jews and Arabs, published in 1993, redrew the geographic, political, cultural, and emotional map of relations between Jews and Arabs in the Levantine/Mediterranean world over a thousand-year period. Based on over a decade of research and fieldwork in many disciplines—including history and historiography; anthropology, ethnography, and ethnomusicology; political economy and geography; linguistics; philosophy; and the history of science and technology—the book presented a radically different perspective than that presented by received opinion. Given the radical and iconoclastic nature of Alcalay’s perspective, After Jews and Arabs met great resistance in attempts to publish it. Though completed and already circulating in 1989, it didn’t appear until 1993. In addition, when the book was published, there wasn’t enough space to include its original bibliography, a foundational part of the project. A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc. In addition to the bibliography, we include two accompanying texts here. In “Behind the Scenes: Before After Jews and Arabs,” Alcalay takes us behind the closed doors of the academic process, reprinting the original readers reports and his detailed rebuttals, and in “On a Bibliography for After Jews and Arabs,” Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms."

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Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.

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Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.

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Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.

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Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.

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Peter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.

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