Harriet E. Smith, Benjamin Griffin, Victor Fischer, Michael B. Frank, Sharon K. Goetz, Leslie Myrick
Scott Kelby, the man who changed the “digital darkroom” forever with his groundbreaking, best-selling The Photoshop Book for Digital Photographers, now tackles the most important side of digital photography—how to take professional-quality shots using the same tricks today’s top digital pros use (and it’s easier than you think). These aren’t books of theory, full of confusing jargon and detailed concepts. These are books on which button to push, which setting to use, and when to use it. Each page covers a single concept on how to make your photography better. Every time you turn the page, you’ll learn another pro setting, tool, or trick to transform your work from snapshots into gallery prints. If you’re tired of shots that look “okay,” and if you’re tired of looking in photography magazines and thinking, “Why don’t my shots look like that?” then these are the books for you.
Selected by five hundred writers, English professors, and creative writing teachers from across the country, this collection includes only the most highly regarded nonfiction work published since 1970.
Contributers include: Jo Ann Beard, Wendell Berry, Eula Biss, Mary Clearman Blew, Charles Bowden, Janet Burroway, Kelly Grey Carlisle, Anne Carson, Bernard Cooper, Michael W. Cox, Annie Dillard, Mark Doty, Brian Doyle, Tony Earley, Anthony Farrington, Harrison Candelaria Fletcher, Diane Glancy, Lucy Grealy, William Harrison, Robin Hemley, Adam Hochschild, Jamaica Kincaid, Barbara Kingsolver , Ted Kooser, Sara Levine, E.J. Levy, Phillip Lopate, Barry Lopez, Thomas Lynch, Lee Martin, Rebecca McCLanahan, Erin McGraw, John McPhee, Brenda Miller, Dinty W. Moore, Kathleen Norris, Naomi Shihab Nye, Lia Purpura, Richard Rhodes, Bill Roorbach, David Sedaris, Richard Selzer, Sue William Silverman, Floyd Skloot, Lauren Slater, Cheryl Strayed, Amy Tan, Ryan Van Meter, David Foster Wallace, and Joy Williams.
Trites argues that the development of the genre over the past thirty years is an outgrowth of postmodernism, since YA novels are, by definition, texts that interrogate the social construction of individuals. Drawing on such nineteenth-century precursors as Little Women and Adventures of Huckleberry Finn, Disturbing the Universe demonstrates how important it is to employ poststructuralist methodologies in analyzing adolescent literature, both in critical studies and in the classroom. Among the twentieth-century authors discussed are Blume, Hamilton, Hinton, Le Guin, L'Engle, and Zindel.
Trites' work has applications for a broad range of readers, including scholars of children's literature and theorists of post-modernity as well as librarians and secondary-school teachers.
Disturbing the Universe: Power and Repression in Adolescent Literature by Roberta Seelinger Trites is the winner of the 2002 Children's Literature Association's Book Award. The award is given annually in order to promote and recognize outstanding contributions to children's literature, history, scholarship, and criticisim; it is one of the highest academic honors that can accrue to an author of children's literary criticism.
Derek Jeter’s twentieth and final season in Major League Baseball truly marks the end of a sports era. The New York Yankees’ shortstop—a five-time World Series victor, team captain since 2003, and one of the greatest ballplayers of all time—is a beloved and inspiring role model who displays the indefinable qualities of a champion, on and off the field.
Jeter Unfiltered is a powerful collection of never-before-published images taken over the course of Derek’s final season. Fans will have unprecedented access to “The Captain,” as the famously private baseball legend takes us behind the scenes—inside his home, the stadium, the gym, at his Turn 2 Foundation events, fortieth birthday party, and more—as he looks back with candor and gratitude on his baseball career. The result is an intimate portrait bursting with personality, professionalism, and pride.
Jeter Unfiltered is Jeter as you have never seen him before: unguarded, unapologetic…unfiltered.
Baucom contends that the massacre and the trials that followed it bring to light an Atlantic cycle of capital accumulation based on speculative finance, an economic cycle that has not yet run its course. The extraordinarily abstract nature of today’s finance capital is the late-eighteenth-century system intensified. Yet, as Baucom highlights, since the late 1700s, this rapacious speculative culture has had detractors. He traces the emergence and development of a counter-discourse he calls melancholy realism through abolitionist and human-rights texts, British romantic poetry, Scottish moral philosophy, and the work of late-twentieth-century literary theorists. In revealing how the Zong tragedy resonates within contemporary financial systems and human-rights discourses, Baucom puts forth a deeply compelling, utterly original theory of history: one that insists that an eighteenth-century atrocity is not past but present within the future we now inhabit.
In The Los Angeles Diaries, he reveals his struggle for survival, mining his past to present the inspiring story of his redemption. Beautifully written and limned with dark humor, these twelve deeply confessional, interconnected chapters address personal failure, heartbreak, the trials of writing for Hollywood, and the life-shattering events that finally convinced Brown that he must “change or die.”
In “Snapshot,” Brown is five years old and recalls the night his mother “sets fire to an apartment building down the street.” In “Daisy,” Brown purchases a Vietnamese potbellied pig for his wife to atone for his sins, only to find the pig’s bulk growing in direct proportion to the tensions in his marriage.
Harrowing and brutally honest, The Los Angeles Diaries is the chronicle of a man on a collision course with life, who ultimately finds the strength and courage to conquer his demons and believe once more.
The contributors consider representations of the black queer body, black queer literature, the pedagogical implications of black queer studies, and the ways that gender and sexuality have been glossed over in black studies and race and class marginalized in queer studies. Whether exploring the closet as a racially loaded metaphor, arguing for the inclusion of diaspora studies in black queer studies, considering how the black lesbian voice that was so expressive in the 1970s and 1980s is all but inaudible today, or investigating how the social sciences have solidified racial and sexual exclusionary practices, these insightful essays signal an important and necessary expansion of queer studies.
Contributors. Bryant K. Alexander, Devon Carbado, Faedra Chatard Carpenter, Keith Clark, Cathy Cohen, Roderick A. Ferguson, Jewelle Gomez, Phillip Brian Harper, Mae G. Henderson, Sharon P. Holland, E. Patrick Johnson, Kara Keeling, Dwight A. McBride, Charles I. Nero, Marlon B. Ross, Rinaldo Walcott, Maurice O. Wallace
However, the very predominance of narrative as a focus of interest across multiple disciplines makes it imperative for scholars, teachers, and students to have access to a comprehensive reference resource.
"I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture."--C. L. Barber, in the Introduction
This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing that Shakespeare's Festive Comedy is as vital today as when it was originally published.
Contributors. M. M. Bakhtin, John Barth, Roland Barthes, Wayne Booth, John Brenkman, Peter Brooks, Catherine Burgass, Seymour Chatman, J. Yellowlees Douglas, Rachel Blau DuPlessis, Wendy B. Faris, Barbara Foley, E. M. Forster, Joseph Frank, Joanne S. Frye, William H. Gass, Henry Louis Gates Jr., Gérard Genette, Ursula K. Heise, Michael J. Hoffman, Linda Hutcheon, Henry James, Susan S. Lanser, Helen Lock, Georg Lukács, Patrick D. Murphy, Ruth Ronen, Joseph Tabbi, Jon Thiem, Tzvetan Todorov, Virginia Woolf
Characterization has long been a troubled and neglected problem within literary theory. Through close readings of such novels as Pride and Prejudice, Great Expectations, and Le Père Goriot, Woloch demonstrates that the representation of any character takes place within a shifting field of narrative attention and obscurity. Each individual--whether the central figure or a radically subordinated one--emerges as a character only through his or her distinct and contingent space within the narrative as a whole. The "character-space," as Woloch defines it, marks the dramatic interaction between an implied person and his or her delimited position within a narrative structure. The organization of, and clashes between, many character-spaces within a single narrative totality is essential to the novel's very achievement and concerns, striking at issues central to narrative poetics, the aesthetics of realism, and the dynamics of literary representation.
Woloch's discussion of character-space allows for a different history of the novel and a new definition of characterization itself. By making the implied person indispensable to our understanding of literary form, this book offers a forward-looking avenue for contemporary narrative theory.
The world fell in love with swimming canines in Seth Casteel's first book, Underwater Dogs. Now, in more than 80 previously unpublished portraits of underwater puppies, we see man's best friends at their most playful and exuberant. Each vibrant and colorful underwater image shows off the wild and sublime range of emotions of puppies, cute and irresistible to the very last.
Each entry in the glossary ranges in length from a few paragraphs to a short essay of a few pages. Where appropriate, examples are provided to further illustrate the term or concept. Each entry will be accompanied by a list of references and additional readings to direct the reader to other materials of possible interest.
"... a first-rate edition, which supersedes all other portable Peirces.... all the Peirce most people will ever need." —Louis Menand, The New York Review of Books
Volume 2 of this convenient two-volume chronological reader’s edition provides the first comprehensive anthology of the brilliant American thinker Charles Sanders Peirce’s mature philosophy. A central focus of Volume 2 is Peirce’s evolving theory of signs and its appplication to his pragmatism.
What is the nature of the relationship of Jacques Derrida and deconstruction to Edmund Husserl and phenomenology? Is deconstruction a radical departure from phenomenology or does it trace its origins to the phenomenological project? In Derrida and Husserl, Leonard Lawlor illuminates Husserl's influence on the French philosophical tradition that inspired Derrida's thought. Beginning with Eugen Fink's pivotal essay on Husserl's philosophy, Lawlor carefully reconstructs the conceptual context in which Derrida developed his interpretation of Husserl. Lawlor's investigations of the work of Jean CavaillÃ ̈s, Tran-Duc-Thao, and Jean Hyppolite, as well as recent texts by Derrida, reveal the depth of Derrida's relationship to Husserl's phenomenology. Along the way, Lawlor revisits and sheds light on the origin of many important Derridean concepts, such as deconstruction, the metaphysics of presence, diffÃ©rance, intentionality, the trace, and spectrality.
Bruce Barnbaum is recognized as one of the world’s finest photographers as well as an elite instructor. This newest incarnation of his book, which has evolved over the past 35 years, will prove to be an invaluable photographic reference for years to come. This is truly the resource of choice for the thinking photographer.
Filled with over 100 beautiful photographs, as well as numerous charts, graphs, and tables.
This strikingly original book provides eloquent analyses of such postmodernist feminists as Judith Butler, Donna Haraway, Norma Alarcón, and Chela Sandoval, and counters the assimilationist proposals of minority neoconservatives such as Shelby Steele and Richard Rodriguez. It advances realist proposals for multicultural education and offers an understanding of the interpretive power of Chicana feminists including Cherríe Moraga, Gloria Anzaldúa, and Helena María Viramontes. Learning from Experience enlarges our concept of identity and offers new ways to situate aspects of race, gender, class, and sexual orientation in discursive and sociopolitical contexts.
Tony goes beyond teaching you how to use Lightroom. Tony shows you why and when to use each feature to create stunning, natural photos. When Lightroom isn t the best tool, Tony suggests better alternatives.
Combining the benefits of video training and book learning, this video book gives you over 14 hours of video and dozens of free presets and raw images to practice with. If you learn better with video, watch the video training and refer to the book for quick reference. If you prefer reading, the book is concise and practical, and each chapter links to relevant videos when you want to understand a topic more deeply or see it used in the real world.
Tony covers every aspect of Lightroom in-depth, but structures his teaching so that both beginner and advanced photographers can learn as efficiently as possible. If you just want a quick start, you can watch the first video or read the first chapter and you'll be organizing and editing your pictures in less than an hour. If you want to know more about a specific feature, switch to that video or jump to that chapter in the ebook. If you want to know everything about Lightroom, watch the videos and read the book from start to finish.
This work presents a provocative theory: that drawings and sequential images are structured the same as language. Building on contemporary theories from linguistics and cognitive psychology, it argues that comics are written in a visual language of sequential images that combines with text. Like spoken and signed languages, visual narratives use a lexicon of systematic patterns stored in memory, strategies for combining these patterns into meaningful units, and a hierarchic grammar governing the combination of sequential images into coherent expressions. Filled with examples and illustrations, this book details each of these levels of structure, explains how cross-cultural differences arise in diverse visual languages of the world, and describes what the newest neuroscience research reveals about the brain's comprehension of visual narratives. From this emerges the foundation for a new line of research within the linguistic and cognitive sciences, raising intriguing questions about the connections between language and the diversity of humans' expressive behaviours in the mind and brain.
Photo Editing Basics shows how making some basic adjustments to your photos can make a big difference.
A quick and easy-to-follow guide, Photo Editing Basics provides clear, illustrated instructions for cropping, resizing, cloning, healing, sharpening, noise reduction, red-eye correction, dynamic range, brightness, contrast and colour adjustments.
Photo Editing Basics is a section from Mastering Digital Photography guide. Author Margaret Brown is an experienced photography writer and is technical editor of enthusiast photographic magazine and website, Photo Review.
Limón's use of Bloom, as well as of Marxist critics Raymond Williams and Fredric Jameson, brings Chicano literature into the arena of contemporary literary theory. By focusing on an important but little-studied poetic tradition, his book challenges our ideas of the American canon and extends the reach of Hispanists and folklorists as well.
Yellow stigmatization has had a long history: it goes back to the Middle Ages when Jews and prostitutes were forced to wear yellow signs to emphasize their marginal status. Although scholars have commented on these associations in particular contexts, Sabine Doran offers the first overarching account of how yellow connects disparate cultural phenomena, such as turn-of-the-century decadence (the "yellow nineties"), the rise of mass media ("yellow journalism"), mass immigration from Asia ("the yellow peril"), and mass stigmatization (the yellow star that Jews were forced to wear in Nazi Germany).
The Culture of Yellow combines cultural history with innovative readings of literary texts and visual artworks, providing a multilayered account of the unique role played by the color yellow in late nineteenth- and twentieth-century American and European culture.
Steinbeck's letters were written on the left-hand pages of a notebook in which the facing pages would be filled with the test of East of Eden. They touched on many subjects—story arguments, trial flights of worknamship, concern for his sons.
Part autobiography, part writer's workshop, these letters offer an illuminating perspective on Steinbeck's creative process, and a fascinating glimpse of Steinbeck, the private man.
Kurt Vonnegut’s desire to save the planet from environmental and military destruction, to enact change by telling stories that both critique and embrace humanity, sets him apart from many of the postmodern authors who rose to prominence during the 1960s and 1970s. This new look at Vonnegut’s oeuvre examines his insistence that writing is an “act of good citizenship or an attempt, at any rate, to be a good citizen.” By exploring the moral and philosophical underpinnings of Vonnegut’s work, Todd F. Davis demonstrates that, over the course of his long career, Vonnegut has created a new kind of humanism that not only bridges the modern and postmodern, but also offers hope for the power and possibilities of story. Davis highlights the ways Vonnegut deconstructs and demystifies the “grand narratives” of American culture while offering provisional narratives—petites histoires—that may serve as tools for daily living.
Digital photography has brought a new, exciting aspect to design - first because the instant feedback from a digital camera allows immediate appraisal and improvement; and second because image-editing tools make it possible to alter and enhance the design after the shutter has been pressed. This has had a profound effect on the way digital photographers take pictures.
Now published in sixteen languages, The Photographer's Eye continues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs. The book explores all the traditional approaches to composition and design, but crucially, it also addresses the new digital technique of shooting in the knowledge that a picture will later be edited, manipulated, or montaged to result in a final image that may be very different from the one seen in the viewfinder.
In order to understand human interaction, award-winning scholar Rick Altman launches a close study of narrative's nature, its variation in different contexts, and the method through which it makes meaning. Altman's approach breaks away from traditional forms of analysis, identifying three basic strategies: single-focus, dual-focus, and multiple-focus. Unpacking an intentionally diverse selection of texts, Altman demonstrates how these strategies function in context and illustrates their theoretical and practical applications in terms of textual analysis, literary and film history, social organization, religion, and politics. He employs inventive terminology and precise analytical methods throughout his groundbreaking work, making this volume ideal for teaching literary and film theory and for exploring the anatomy of narrative on a more general level.
Brody provides a playful, erudite meditation on punctuation’s power to direct discourse and, consequently, to shape human subjectivity. Her analysis ranges from a consideration of typography as a mode for representing black subjectivity in Ralph Ellison’s Invisible Man to a reflection on hyphenation and identity politics in light of Strunk and White’s prediction that the hyphen would disappear from written English. Ultimately, Brody takes punctuation off the “stage of the page” to examine visual and performance artists’ experimentation with non-grammatical punctuation. She looks at different ways that punctuation performs as gesture in dances choreographed by Bill T. Jones, in the hybrid sculpture of Richard Artschwager, in the multimedia works of the Japanese artist Yayoi Kusama, and in Miranda July’s film Me and You and Everyone We Know. Brody concludes with a reflection on the future of punctuation in the digital era.
Whether discussing Weil, Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.
In all literate societies, however, speech in turn is interpreted by reference to the culturally dominant writing system. This puts in place a system of educational values which ensures that the more literate members of society maintain superiority over the less literate, and at the same time establishes a hierarchy among literate societies which favours the local product (alphabetic scripts in the Western Case).
Roy Harris shows that the theory of writing adopted in modern linguistics is deeply flawed. Reversing the orthodox priorities, the author argues that writing is a far more powerful mode of linguistic communication than speech could ever be. His book is a major contribution to current debates about human communication written and spoken.
Remarkably accessible and unfailingly stimulating, this collection exhibits the diversity of interests and the depth of knowledge that have made Eco one of the world's leading writers.