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In Defense of William Hull
Details the first major U.S. setback in the War of 1812 and analyzes the background and aftermath of Hull’s surrender.
The phenomenon of risk has been seriously neglected in connection with the study of film, yet many of those who write about film seem to have intuitions about how various forms of risk-taking shape aspects of the filmmaking or film-viewing process. Film and Risk fills this gap as editor Mette Hjort and interdisciplinary contributors discuss film’s relation to all types of risk. Bringing together scholars from philosophy, anthropology, film studies, economics, and cultural studies, as well as experts from the fields of law, filmmaking, and photojournalism, this volume discusses risk from multiple intriguing angles. In thirteen chapters, contributors consider concrete risks (e.g., stunts or financial decisions); theoretical aesthetic and artistic risks (e.g., filmmakers who incorporate excessive hazards into their films); and the real-world jeopardy spectators might put themselves in when viewing films. The first three chapters tackle the conceptual terrain that is relevant to understanding risk in film. The next three chapters focus on risk as it pertains to the practice of filmmaking. Subsequent chapters deal with economic risk and the role that risk has in the development of film’s institutional landscape. The scholarship in this collection is impressive, boasting some of the top writers in their respective fields. Through the contributors’ clear and thorough discussions, this cohesive but diverse collection shows that risk arises in many different areas that tend to be thought of as central to film studies. Scholars of film studies will appreciate this daring and inventive collection, and readers with a general interest in film studies will enjoy its accessible style.
A Tale of Hasidism in the Kingdom of Poland
Half a century after Hasidism blossomed in Eastern Europe, its members were making deep inroads into the institutional structure of Polish Jewish communities, but some devotees believed that the movement had drifted away from its revolutionary ideals. Menashe Unger’s A Fire Burns in Kotsk dramatizes this moment of division among Polish Hasidim in a historical account that reads like a novel, though the book was never billed as such. Originally published in Buenos Aires in 1949 and translated for the first time from Yiddish by Jonathan Boyarin, this volume captures an important period in the evolution of the Hasidic movement, and is itself a missing link to Hasidic oral traditions. A non-observant journalist who had grown up as the son of a prominent Hasidic rabbi, Unger incorporates stories that were told by his family into his historical account. A Fire Burns in Kotsk begins with a threat to the new, rebellious movement within Hasidism known as “the school of Pshiskhe,” led by the good-humored Reb Simkhe Bunim. When Bunim is succeeded by the fiery and forbidding Rebbe of Kotsk, Menachem Mendl Morgenstern, the new leader’s disdain for the vast majority of his followers will lead to a crisis in his court. Around this core narrative of reform and crisis in Hasidic leadership, Unger offers a rich account of the everyday Hasidic court life—filled with plenty of alcohol, stolen geese, and wives pleading with their husbands to come back home. Unger’s volume reflects a period when Eastern European Jewish immigrants enjoyed reading about Hasidic culture in Yiddish articles and books, even as they themselves were rapidly assimilating into American culture. Historians of literature, Polish culture, and Jewish studies will welcome this lively translation.
Folding a River, a collection of elegies, shows a pleasing range of free-verse forms that develop themes sustained throughout: loss, exile, myth, landscape. Kawita Kandpal’s poems are explorations of East–West cultures, taking her into an emo-mythic place not to be found on any map. Kandpal’s mood in Folding a River is melancholy, articulated with intelligence and grace, and her phrasing can rise to the level of proverb: “This time next year you will have evolved into an idea.” In its personal evocations of geographical and linguistic exile from the subcontinent, centered on a lost father, her work recalls that of Li-Young Lee, yet with a feminine perspective often haunting in its own right: “tenderly / taking back the mistakes of men.”
Translator-Authors in the Age of Goethe
The turn of the nineteenth century was a particularly fertile period in the history of translation theory and practice. With an unprecedented number of works being carefully translated and scrutinized, this era saw a definite shift in the dominant mode of translation. Many translators began attempting, for the first time, to communicate the formal characteristics, linguistic features, and cultural contexts of the original text while minimizing the paraphrasing that distorted most eighteenth-century translations. As soon as these new rules became the norm, authorial translators—defined not by virtue of being authors in their own right but by the liberties they took in their translations—emerged to challenge them, altering translated texts in such a way as to bring them into line with the artistic and thematic concerns displayed in the translators’ own “original” work. In the process, authorial translators implicitly declared translation an art form and explicitly incorporated it into their theoretical programs for the poetic arts. Foreign Words provides a detailed account of translation practice and theory throughout the eighteenth and early nineteenth centuries, linking the work of actual translators to the theories of translation articulated by Goethe, Wilhelm von Humboldt, and, above all, Friedrich Schleiermacher. Employing a variety of critical approaches, author Susan Bernofsky discusses in depth the work of Kleist, Hölderlin, and Goethe, whose virtuoso translations raise issues that serve to delineate a theory of translation that has relevance at the turn of the twenty-first century as well. Combining a broad historical approach with individual readings of the work of several different translators, Foreign Words paints a full picture of translation during the Age of Goethe and provides all scholars of translation theory with an important new perspective.
Vol. 47 (2006) through current issue
Framework: The Journal of Cinema and Media is an international journal dedicated to theoretical and historical work on the diverse and current trends in media and film scholarship. The journal's multicultural coverage and interdisciplinary focus and the high caliber of its writers contribute to important interconnections between regional cinemas, practioners, academics, critics, and students. Framework is committed to publishing articles from interdisciplinary and global perspectives and contains commissioned and unsolicited articles, interviews, and reviews that provide an eclectic and informative study of contemporary cultures relating to all aspects of cinema and media studies.
The German Jewish Community of Washington Heights, 1933-82, Its Structure and Culture
The 20,000 German Jews who fled Hitler's Germany and settled in Washington Heights were unusual in many ways. They preserved their Jewish identity while fostering a culture that was still heavily German—a difficult combination in light of their origins. In his study of this immigrant group, Steven Lowenstein strives for more that a chronicle of their institutions and leaders. He analyzes both the social structure of the community and the folk culture of the immigrants. He deals with such issues as the formal nature of German Jewish cultural style, the relationships between the generations, and intergroup relations. Using organizational bulletins, surveys, interviews, and personal observations and anecdotes, Lowenstein paints a picture of a unique lifestyle now in the process of merging into American Jewry and disappearing.