Containment Systems: A Design Guide,
Containment Systems: A Design Guide,...
Guide to Protein Purification
Guide to Protein Purification,...
A Russian Doll & Other Stories (Paper)
A Russian Doll & Other Stories (Paper)...
Webster?s New WorldTM Roget?s A–Z Thesaurus
Webster?s New WorldTM Roget?s A–Z Thesaurus...
Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975
Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman).One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject....
Professional IIS 7
Strangers on a Train
"In this mesmerizing novel... not to be recommended for the weak-minded and impressionable" (Washington Post), we encounter Guy Haines, a successful architect in the midst of a divorce, and Charles Anthony Bruno, a conniving psychopath who manipulates a chance encounter with Guy into a sadistic plot to swap murders. "Some people are better off dead," says Bruno, "like your wife and my father, for instance." As Bruno carries out his twisted plan, Guy becomes trapped in Patricia Highsmith's perilous world, where under the right circumstances anyone is capable of murder. Still her most iconic novel, Strangers on a Train elicits "the menace that lurks in familiar surroundings" (Time) and the unsettling forces that tremble beneath the surface of everyday life....
The Geography of Lograire
It was completed in the summer of 1968, a few months before he set out from Our Lady of Gethsemani monastery in Kentucky on the Asian journey from which he did not return. The text is as he left it. It lacks that final editing that he would have done in proof, but it is substantially a completed, self-contained work. Lograire, as with William Carlos Williams's Paterson, is first of all a country of the imagination, but it is also a person-Merton himself-for its "geography" is the map, the inner choreography, of his mind. The charting in the poem is his search for self-location: where, and even how, does a man find himself in the geography of all men? Sections of personal experience are set against passages re-imagined from anthropological and historical texts, material that Merton chose for its character of myth to illustrate the general experience of mankind. The myths of Lograire form a mosaic of African legends, Mixtecart motifs and Mayan religious customs, the pantheism of the fanatical Ranters in 17th-century England, the records of an early arctic expedition and of Ibn Battuta, the 14th-century Arab traveler, the Cargo Cults of Melanesia and the Ghost Dances of the American Indians. "A poet," Merton wrote in his prefatory note to Lograire, "spends his life attempting to build or to dream the world in which he lives. But more than that he realizes that this world is at once his and everybody’s. It grows out of a common participation which is nevertheless recorded in authentically personal images. I have without scruple mixed what is my own experience with what is almost everybody else's." Many modern poets have used history and myth in their work; what sets The Geography of Lograire apart is the invention of Merton’s method-his process for elevating fact to the level of myth. It is a complex technique of fractured syntax, multiple meanings; the distortion of dream, irony and parody....
Bending the Bow
In Bending the Bow, which presents his work in poetry since Roots and Branches, Robert Duncan is writing on a scale which places him among the poets, after Walt Whitman, bold enough to attempt the personal epic, the large-canvas rendering of man's spirit in history as one man sees it, feels it, lives it, and makes it his own. In Structures of Rime, the open series begun in The Opening of the Field and continued in this volume, Duncan works with ideas, forces, and persons created in language itself - the life and identity of the poet in the poem. With the first thirty poems of Passages, which form the structural base in Bending the Bow, he has begun a second open series - a multiphasic projection of movements in a field, an imagined universe of the poem that moves out to include all the terms of experience as meaning. Here Duncan draws upon and in turn contributes to a mode in American poetry where Pound's Cantos, Williams's Paterson, Zukofsky's "A", and Olson's Maximus Poems have led the way.
The chronological composition of Bending the Bow emphasizes Duncan's belief that the significance of form is that of an event in process. Thus, the poems of the two open series belong ultimately to the configuration of a life in poetry in which there are forms moving within and interpenetrating forms. Versions of Verlaine's Saint Craal and Parsifal and a translation of Gerard de Nerval's Les Chimeres enter the picture; narrative bridges for the play Adam's Way have their place in the process; and three major individual poems - "My Mother Would Be a Falconress", "A Shrine to Ameinias", and "Epilogos" - among others make for an interplay of frames of reference and meaning in which even such resounding blasts of outrage at the War in Viet-Nam as "Up Rising" and "The Soldiers" are not for the poet things in themselves but happenings in a poetry that involve all other parts of his experience....
Rethinking International Trade
Over the past decade a small group of economists has challenged traditional wisdom about international trade. Rethinking International Trade provides a coherent account of this research program and traces the key steps in an exciting new trade theory that offers, among other possibilities, new arguments against free trade. Krugman's introduction is a valuable guide to research that has delved anew into the causes of international trade and reopened basic questions about the international pattern of specialization, the effects of protectionism, and what constitutes an optimal trade policy. In the four sections that follow, he takes a revisionary look at the causes of international trade, and discusses growth and the role of history, technological change and trade, and strategic trade policy....