Itself

Architecture Itself and Other Postmodernist Myths' brings together an array of building fragments, drawings, models, and primary source documents, to present canonic projects from an unexpected and unfamiliar point of view. The exhibition challenges the typical narrative of the heroic architect by revealing a counter- reading of postmodern procedures. The purpose is simultaneously to deflate the postmodern mythologizing of the architect and inflate the importance of empirically describable architectural activity. In so doing, the exhibition will make original contributions both to a counter-historiography of the postmodern and to contemporary curatorial method. A broad selection of material evidence -- gathered from building sites, libraries, and archives -- supports accounts of architects? and architecture?s entanglements with bureaucracy, the art market, and academic and private institutions, as postmodernization challenged the discipline to redefine its modes of practice and reconsider the very idea of architecture itself.00Exhibition: CCA, Montréal, Canada (07.11.2018 - 07.04.2019).

Available again for a new generation, this classic work contains over 150 of the greatest modern French, Spanish, German, Italian, Portuguese, and Russian poems presented in the original languages and brilliantly illuminated by English commentaries.

In Life Beside Itself, Lisa Stevenson takes us on a haunting ethnographic journey through two historical moments when life for the Canadian Inuit has hung in the balance: the tuberculosis epidemic (1940s to the early 1960s) and the subsequent suicide epidemic (1980s to the present). Along the way, Stevenson troubles our commonsense understanding of what life is and what it means to care for the life of another. Through close attention to the images in which we think and dream and through which we understand the world, Stevenson describes a world in which life is beside itself: the name-soul of a teenager who dies in a crash lives again in his friend’s newborn baby, a young girl shares a last smoke with a dead friend in a dream, and the possessed hands of a clock spin uncontrollably over its face. In these contexts, humanitarian policies make little sense because they attempt to save lives by merely keeping a body alive. For the Inuit, and perhaps for all of us, life is "somewhere else," and the task is to articulate forms of care for others that are adequate to that truth.

This collection of essays, by a number of established scholars and artists, proposes new directions for Marxist cultural theory and the criticism of modern visual culture. It addresses a diverse range of topics, including the state and revolution, Communist and post-Communist aesthetics, Situationist thought and the avant-garde, subjectivity and commodification, and the politics and problems of contemporary artistic practice. The contributions also consider several other pressing questions in the visual arts, from the practice of digital culture to appropriations of critical theory, from the relations of art and the spectacle to architecture in the age of global modernity. This book on Marxism and art is not offered in a spirit of nostalgia: on the contrary, it testifies to the continuing vitality and confidence of historical materialist thought in the field of cultural theory and practice in the 21st century.

A collection of modern Hebrew poetry that presents the poems in the original Hebrew, with an English phonetic transcription.

Named one of the 100 greatest film books of all time by The Hollywood Reporter, this singular, warm-hearted, inspiring look at life itself is "the best thing Mr. Ebert has ever written" (Janet Maslin, New York Times). "To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out." Roger Ebert was the best-known film critic of his time. He began reviewing films for the Chicago Sun-Times in1967, and was the first film critic ever to win a Pulitzer Prize. He appeared on television for four decades. In 2006, complications from thyroid cancer treatment resulted in the loss of his abi)lity to eat, drink, or speak. But with the loss of his voice, Ebert became a more prolific and influential writer. And in Life Itself he told the full, dramatic story of his life and career. In this candid, personal history, Ebert chronicled it all: his loves, losses, and obsessions; his struggle and recovery from alcoholism; his marriage; his politics; and his spiritual beliefs. He wrote about his years at the Sun-Times, his colorful newspaper friends, and his life-changing collaboration with Gene Siskel. He shared his insights into movie stars and directors like John Wayne and Martin Scorsese. This is a story that only Roger Ebert could tell, filled with the same deep insight, dry wit, and sharp observations that his readers have long cherished,

This work devoted to federally funded arts programmes in the American Midwest, deals with the controversial Federal Theater Project (FTP) and the Federal Writers Project (FWP) under the New Deal's Works Progress Administration (WPA).

Most recent research in generative morphology has avoided the treatment of purely morphological phenomena and has focused instead on interface questions, such as the relation between morphology and syntax or between morphology and phonology. In this monograph Mark Aronoff argues that linguists must consider morphology by itself, not merely as an appendage of syntax and phonology, and that linguistic theory must allow for a separate and autonomous morphological component. Following a general introductory chapter, Aronoff examines two narrow classes of morphological phenomena to make his case: stems and inflectional classes. Concentrating first on Latin verb morphology, he argues that morphological stems are neither syntactic nor phonological units. Next, using data from a number of languages, he underscores the traditional point that the inflectional class of a word is not reducible to its syntactic gender. He then explores in detail the phonologically motivated nominal inflectional class system of two languages of Papua New Guinea (Arapeshand Yimas) and the precise nature of the relation between this system and the corresponding gender system. Finally, drawing on a number of Semitic languages, Aronoff argues that the verb classes of these languages are purely inflectional although they are partly motivated by derivational and syntactic considerations.