On photography Time split in two

ARTMargins ◽  
2013 ◽  
Vol 2 (3) ◽  
pp. 123-130
Author(s):  
Ronald Kay
Keyword(s):  
English Translation ◽  
Art Scene ◽  
Geological Event ◽  
First Time

The text presented here constitutes the first time that Ronald Kay's work has been rendered and published in English translation. A fundamental figure within Chile's art scene during its recent dictatorial period (1973–1990), Kay's written, pedagogic, and editorial contributions were instrumental in shaping the sophisticated and insurgent discourse of the artists working under the rubric now known as the neovanguardia. The first chapter of Ronald Kay's Del Espacio de Acá (1980), “On photography Time split in two” lays out, in a style and rhetoric that are both lyrical and rigorous, Kay's theorization of the photographic phenomenon as a miniature geological event.

Introduction to Ronald Kay's “On photography Time split in two”

ARTMargins ◽  
2013 ◽  
Vol 2 (3) ◽  
pp. 114-122 ◽  
Author(s):  
Osvaldo de la Torre
Keyword(s):  
English Translation ◽  
Art Scene ◽  
Geological Event ◽  
First Time

The text presented here constitutes the first time that Ronald Kay's work has been rendered and published in English translation. A fundamental figure within Chile's art scene during its recent dictatorial period (1973–1990), Kay's written, pedagogic, and editorial contributions were instrumental in shaping the sophisticated and insurgent discourse of the artists working under the rubric now known as the neovanguardia. The first chapter of Ronald Kay's Del Espacio de Acá (1980), “On photography Time split in two” lays out, in a style and rhetoric that are both lyrical and rigorous, Kay's theorization of the photographic phenomenon as a miniature geological event.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

Delhi in Transition, 1821 and Beyond

2018 ◽  
Keyword(s):  
Nineteenth Century ◽  
Lived Experience ◽  
English Translation ◽  
East India Company ◽  
Multiple Sources ◽  
Original Manuscript ◽  
English East India Company ◽  
The Times ◽  
First Time ◽  
The City

Commissioned by the English East India Company to write about contemporary nineteenth-century Delhi, Mirza Sangin Beg walked around the city to capture its highly fascinating urban and suburban extravaganza. Laced with epigraphy and fascinating anecdotes, the city as ‘lived experience’ has an overwhelming presence in his work, Sair-ul Manazil. Sair-ul Manazil dominates the historiography of eighteenth- and nineteenth-century compositions on Delhi in Persian and Urdu, and remains unparalleled in its architecture and detailed content. It deals with the habitations of people, bazars, professions and professionals, places of worship and revelry, and issues of contestation. Over fifty typologies of structures and several institutions that find resonance in the Persian and Ottoman Empires can also be gleaned from Sair-ul Manazil. Interestingly, Beg made no attempt to ‘monumentalize’ buildings; instead, he explored them as spaces reflective of the sociocultural milieu of the times. Delhi in Transition is the first comprehensive English translation of Beg’s work, which was originally published in Persian. It is the only translation to compare the four known versions of Sair-ul Manazil, including the original manuscript located in Berlin, which is being consulted for the first time. It has an exhaustive introduction and extensive notes, along with the use of varied styles in the book to indicate the multiple sources of the text, contextualize Beg’s work for the reader and engage him with the debate concerning the different variants of this unique and eclectic work.

In Pursuit of the Muses. The Life and Work of Justus Lipsius

10.54179/2101 ◽  
2021 ◽  
Author(s):  
Jeanine De Landtsheer
Keyword(s):  
Sixteenth Century ◽  
English Translation ◽  
Valuable Insight ◽  
Reference Guide ◽  
First Time ◽  
Insight Into ◽  
Selection Of

Famed for his ground-breaking philological, philosophical, and antiquarian writings, the Brabant humanist Justus Lipsius (1547-1606) was one of the most renowned classical scholars of the sixteenth century. In this volume, Marijke Crab and Ide François bring together the seminal contributions to Lipsius’s life and scholarship by Jeanine De Landtsheer (1954-2021), who came to be known as one of the greatest Lipsius specialists of her generation. In Pursuit of the Muses considers Lipsius from two complementary angles. The first half presents De Landtsheer’s evocative life of the famous humanist, based on her unrivalled knowledge of his correspondence. Originally published in Dutch, it appears here in English translation for the first time. The second half presents a selection of eight articles by De Landtsheer that together chart a way through Lipsius’s scholarship. This twofold approach offers the reader a valuable insight into Lipsius’s life and work, creating an indispensable reference guide not only to Lipsius himself, but also to the wider humanist world of letters.

Introductory Remarks on Georg Langer’s “On the Function of the Jewish Doorpost Scroll” from 1928

Images ◽  
2020 ◽  
Vol 13 (1) ◽  
pp. 77-88
Author(s):  
Batsheva Goldman-Ida
Keyword(s):  
Indigenous People ◽  
English Translation ◽  
Jewish Studies ◽  
Explanatory Model ◽  
Scholarly Work ◽  
Current Field ◽  
Tel Aviv ◽  
The People ◽  
Background Material ◽  
First Time

Abstract Batsheva Goldman-Ida, art historian and museum curator, introduces the article by Jiří Mordechai Georgo Langer (1894, Prague–1943, Tel Aviv): “On the Function of the Jewish Doorpost Scroll,” presented for the first time in English translation, and originally written for the Freud journal Imago in 1928. Langer, a Hebrew poet and teacher of Jewish studies was a friend of Franz Kafka. Langer joined the Belz Hasidism from 1913–16 and was one of the people who introduced Kafka to Hasidism. Langer suggests an explanatory model for Jewish religious artifacts such as the Mezuzah and Phylacteries in the context of compulsion neuroses, referencing the rites of indigenous people and totem theory. The introduction provides background material on the author and details of his other books and endeavors, as well as a framework to better appreciate his poetry and scholarly work. Langer sought a revival of “comrade love” whose homerotic bias is of interest today. His essay on the Mezuzah opens up a range of questions on Jewish artifacts, psychoanalysis, and the origins of Jewish rites. Long left unnoticed, it challenges the current field of Jewish scholarship to rethink its methodology.

São Paulo Biennial

2018 ◽  
Author(s):  
Maria de Fátima Morethy Couto
Keyword(s):  
Latin America ◽  
Industrial Sector ◽  
Sao Paulo ◽  
The Political ◽  
São Paulo ◽  
Political Factors ◽  
Paul Klee ◽  
Brazilian Society ◽  
Art Scene ◽  
First Time

The São Paulo Biennial was a daring enterprise modelled on the Venice Biennial that took place for the first time in 1951 in Brazil due to a series of sociocultural and political factors, including a booming industrial sector looking to assert itself socially within Brazilian society. The São Paulo Biennial, the first of its kind in Latin America, looked at propagating Brazil’s image internationally in both the art scene and in the political and economic contexts. Its first instance in 1951 was led by the industrialist Francisco Matarazzo Sobrinho, better known as Ciccillo Matarazzo (1898–1977), who had also spearheaded the founding of the Museu de Arte Moderna de São Paulo (MAM-SP) half a decade earlier. The biennials above all promoted the circulation of artists, artworks and cultural agents, which was key in the exchange of information, tendencies, and tastes. At a time when the number of art magazines published in Brazil was reduced and travelling abroad was not easy, the São Paulo Biennials connected Brazilians with international contemporary production through the organization of vast retrospectives of modern pioneers such as Paul Klee, Mondrian, and Picasso in 1953, Léger in 1955, and Pollock in 1957.

Mercier Et/and Camier : Un voyage de découverte linguistique est-il traduisible?

2007 ◽  
Vol 17 (1) ◽  
pp. 109-120
Author(s):  
Helen Astbury
Keyword(s):  
Foreign Language ◽  
English Translation ◽  
Mother Tongue ◽  
French Language ◽  
Close Analysis ◽  
First Time ◽  
As If

This articles studies the English translation of Beckett's first French-language novel, in order to ascertain whether the linguistic discovery it represents was translatable into English. A close analysis of how Beckett translated his very markedly oral French reveals how Beckett uses for the first time, Hibemo-English structures and words, as if the use of a foreign language had allowed him to rediscover his mother tongue as he has never used it before.

On the Wannseeheim Youth Center

2020 ◽  
Vol 47 (3) ◽  
pp. 93-98
Author(s):  
Barton Byg
Keyword(s):  
Alternative Education ◽  
Social Relations ◽  
English Translation ◽  
Visual Images ◽  
Film Criticism ◽  
Ordinary People ◽  
German Cinema ◽  
Productive Thinking ◽  
First Time ◽  
New German Cinema

Abstract Presented here for the first time in English translation is one of Harun Farocki’s earliest publications in the journal Filmkritik, of which he later became editor. Composed largely of quotations, Farocki’s text reports on film courses at the Wannseeheim Youth Center, a form of adult and alternative education in Berlin West. The introduction to Farocki’s text connects with the New German Cinema and themes that remained central throughout his own work: collaboration and quotation, Bertolt Brecht’s concept of “learning plays,” using nonfiction to explore both social relations and the cinematic apparatus, and seeing film as a form of “productive thinking.” It represents a kernel of Farocki’s wish to put the tools of filmmaking into the hands of ordinary people, thus revealing both theoretical aspects of the cinematic apparatus itself and the interweaving of visual images with social relations. With a deadpan, whimsical tone, Farocki argues that all this is, or should be, film criticism—in German, Filmkritik.

An Inquiry Concerning a Portuguese Editor and a Guinea Text

1991 ◽  
Vol 18 ◽  
pp. 427-429
Author(s):  
P.E.H. Hair
Keyword(s):  
English Translation ◽  
French Translation ◽  
Additional Information ◽  
Previous Edition ◽  
First Time

When in 1985 I issued an English translation of the 1684 version of the Description of Guinea by Francisco de Lemos Coelho, I referred to the 1973 annotated French translation of one chapter by Nize Isabel de Moraes, and I noted that this included a brief statement to the effect that “une publication de la seconde version, en portugais actualisé, fut entreprise en Lisbonne en 1937 (Inéditos Coloniais, sér. A, num. II).” This statement puzzled me, since the 1953 edition of the Portuguese texts of both versions, by Damiãlo Peres, said nothing about a previous edition, leaving the reader to suppose that the 1953 edition represented the first time these accounts by Lemos Coelho had found their way into print. However, since the reference by Nize Isabel de Moraes was a little imprecise (why “fut entreprise” rather than “fut imprimé,” for instance?), and since I have never been able to see her thesis, which originally contained the French translation and may give additional information about the 1937 enterprise, it has taken me some years to confirm that there was indeed an earlier edition and an earlier editor—albeit in rather curious circumstances, about which I would like to learn more.

Project for a Film by Kafka

2009 ◽  
Vol 3 (2) ◽  
pp. 150-161 ◽  
Author(s):  
Félix Guattari
Keyword(s):  
English Translation ◽  
Cultural Sector ◽  
First Time

This short document, appearing for the first time in English translation, concerns the prospects of a made-for-television cultural mini-series inspired by select episodes in Kafka's works. A window is opened onto Guattari's curatorial ambitions, cinematic projects, and theory of minor cinema, bringing into focus how he translated theoretical preoccupations into the cultural sector with reference to diverse semiotic media.

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