Showing posts with label Essays. Show all posts
Showing posts with label Essays. Show all posts

Tuesday, December 13, 2011

A Sand County Almanac: With Essays on Conservation







A Sand County Almanac: With Essays on Conservation Overview


Aldo Leopold's A Sand County Almanac has enthralled generations of nature lovers and conservationists and is indeed revered by everyone seriously interested in protecting the natural world. Hailed for prose that is "full of beauty and vigor and bite" (The New York Times), it is perhaps the finest example of nature writing since Thoreau's Walden.
Now this classic work is available in a completely redesigned and lavishly illustrated gift edition, featuring over one hundred beautiful full-color pictures by Michael Sewell, one of the country's leading nature photographers. Sewell, whose work has graced the pages of Audubon and Sierra magazines, walked Leopold's property in Wisconsin and shot these photographs specifically for this edition, allowing readers to see Sand County as Leopold saw it. The resulting layout is spectacular. But the heart of the book remains Leopold's carefully rendered observations of nature. Here we follow Leopold throughout the year, from January to December, as he walks about the rural Wisconsin landscape, watching a woodcock dance skyward in golden afternoon light, or spying a rough-legged hawk dropping like a feathered bomb on its prey. And perhaps most important are Leopold's trenchant comments throughout the book on our abuse of the land and on what we must do to preserve this invaluable treasure. This edition also includes two of Leopold's most eloquent essays on conservation, "The Land Ethic" and "Marshland Elegy."
With this gift edition of A Sand County Almanac, a new generation of readers can walk beside one of America's most respected naturalists as he conveys the beauty of a marsh before sunrise or the wealth of history to be found in an ancient oak.

A Sand County Almanac: With Essays on Conservation Specifications


Published in 1949, shortly after the author's death, A Sand County Almanac is a classic of nature writing, widely cited as one of the most influential nature books ever published. Writing from the vantage of his summer shack along the banks of the Wisconsin River, Leopold mixes essay, polemic, and memoir in his book's pages. In one famous episode, he writes of killing a female wolf early in his career as a forest ranger, coming upon his victim just as she was dying, "in time to watch a fierce green fire dying in her eyes.... I was young then, and full of trigger-itch; I thought that because fewer wolves meant more deer, no wolves would mean hunters' paradise. But after seeing the green fire die, I sensed that neither the wolf nor the mountain agreed with such a view." Leopold's road-to-Damascus change of view would find its fruit some years later in his so-called land ethic, in which he held that nothing that disturbs the balance of nature is right. Much of Almanac elaborates on this basic premise, as well as on Leopold's view that it is something of a human duty to preserve as much wild land as possible, as a kind of bank for the biological future of all species. Beautifully written, quiet, and elegant, Leopold's book deserves continued study and discussion today. --Gregory McNamee



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Wednesday, September 7, 2011

Between The Eyes: Essays On Photography And Politics







Between The Eyes: Essays On Photography And Politics Overview


David Levi Strauss is a writer whose visual and intellectual sensibilities are both acute and expansive. His trenchant writings on photography and photographers have been collected for this volume from a broad range of magazines, including Aperture, Artforum, and The Nation. In Between the Eyes: Essays on Photography and Politics, Strauss tackles subjects as diverse as "Photography and Propaganda," the imagery of dreams, SebastiNo Salgado's epic social documents, and the deeply personal photographic revelations of Francesca Woodman. The timely issue of photographic legitimacy is addressed in the essay "Photography and Belief," and in "The Highest Degree of Illusion," Strauss discusses the media frenzy surrounding the events of September 11. As our world is shaped more and more by images and their slipperiness, what he calls a media "pandemonium" in its root meaning of "the place of all howling demons," we need a mind and voice like Levi Strauss's to bring clarity to our vision.




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Thursday, August 11, 2011

A Sand County Almanac (Outdoor Essays & Reflections)







A Sand County Almanac (Outdoor Essays & Reflections) Overview


Aldo Leopold's A Sand County Almanac has enthralled generations of nature lovers and conservationists and is indeed revered by everyone seriously interested in protecting the natural world. Hailed for prose that is "full of beauty and vigor and bite" (The New York Times), it is perhaps the finest example of nature writing since Thoreau's Walden.
Now this classic work is available in a completely redesigned and lavishly illustrated gift edition, featuring over one hundred beautiful full-color pictures by Michael Sewell, one of the country's leading nature photographers. Sewell, whose work has graced the pages of Audubon and Sierra magazines, walked Leopold's property in Wisconsin and shot these photographs specifically for this edition, allowing readers to see Sand County as Leopold saw it. The resulting layout is spectacular. But the heart of the book remains Leopold's carefully rendered observations of nature. Here we follow Leopold throughout the year, from January to December, as he walks about the rural Wisconsin landscape, watching a woodcock dance skyward in golden afternoon light, or spying a rough-legged hawk dropping like a feathered bomb on its prey. And perhaps most important are Leopold's trenchant comments throughout the book on our abuse of the land and on what we must do to preserve this invaluable treasure. This edition also includes two of Leopold's most eloquent essays on conservation, "The Land Ethic" and "Marshland Elegy."
With this gift edition of A Sand County Almanac, a new generation of readers can walk beside one of America's most respected naturalists as he conveys the beauty of a marsh before sunrise or the wealth of history to be found in an ancient oak.

A Sand County Almanac (Outdoor Essays & Reflections) Specifications


Published in 1949, shortly after the author's death, A Sand County Almanac is a classic of nature writing, widely cited as one of the most influential nature books ever published. Writing from the vantage of his summer shack along the banks of the Wisconsin River, Leopold mixes essay, polemic, and memoir in his book's pages. In one famous episode, he writes of killing a female wolf early in his career as a forest ranger, coming upon his victim just as she was dying, "in time to watch a fierce green fire dying in her eyes.... I was young then, and full of trigger-itch; I thought that because fewer wolves meant more deer, no wolves would mean hunters' paradise. But after seeing the green fire die, I sensed that neither the wolf nor the mountain agreed with such a view." Leopold's road-to-Damascus change of view would find its fruit some years later in his so-called land ethic, in which he held that nothing that disturbs the balance of nature is right. Much of Almanac elaborates on this basic premise, as well as on Leopold's view that it is something of a human duty to preserve as much wild land as possible, as a kind of bank for the biological future of all species. Beautifully written, quiet, and elegant, Leopold's book deserves continued study and discussion today. --Gregory McNamee



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Thursday, June 10, 2010

Classic Essays on Photography






Classic Essays on Photography Feature




Classic Essays on Photography Overview


Containing 30 essays that embody the history of photography, this collection includes contributions from Niepce, Daguerre, Fox, Talbot, Poe, Emerson, Hine, Stieglitz, and Weston, among others.



Customer Reviews


Although Trachtenberg's collection has been around for awhile (since 1980), it provides a very nice selection of primary source materials on the history of photography. If you want to know what people were actually thinking and saying about photography during its first 140 years or so, you can find it here. In addition, Trachtenberg's introductions to the selections are quite good--not showy or promoting some particular intellectual hobby horse, but solid and factual and useful to students--I've been studying the topic for years and have found very few factual errors or questionable judgments in his material. The main limitation is that the book stops in the 1970s, so, for my course in history of photography I have to provide additional materials for the recent developments, such as digital photography and the relations between photography and computing and the internet. The only other common item somewhat like this is Goldberg's "Photography in Print," which costs twice as much and, although it is more complete, is not twice as good, at least for the purposes of students in a first course in history of photography. My students can pick up a copy of Trachtenberg for a few dollars used, not much more new, and they've responded well to the selection of readings. Some minor downsides: there is no index, and the individual readings don't give the date of publication (though this is generally available in the "Sources" section at the end of the book). In short, within its limitations, this is an excellent source book, and a bargain in an age of obscene textbook pricing.


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Friday, May 14, 2010

Film Form: Essays in Film Theory






Film Form: Essays in Film Theory Feature


  • ISBN13: 9780156309202
  • Condition: USED - LIKE NEW
  • Notes:


Film Form: Essays in Film Theory Overview


Twelve essays written between 1928 and 1945 that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an Introduction by Jay Leyda; Index; photographs and diagrams.


Film Form: Essays in Film Theory Specifications


After D.W. Griffith, the most important figure in the history of the international cinema is Sergei Eisenstein. Both men died in 1948, but Eisenstein left a double legacy: not only was he one of the greatest filmmakers of all time, but he was also a magnificent film theorist, perhaps the most important one ever. This book of his essays, superbly translated and edited by Jay Leyda, reprints some of his most vital writings on the art of the cinema, including articles on the language and structure of the movies, the differences between theater and film, and the author's efforts to adapt Theodore Dreiser's An American Tragedy for the screen. In "The Cinematic Principle and the Ideogram," Eisenstein analyzes the written symbols of the Japanese language as a model for film editing. "Dickens, Griffith, and the Film Today," one of the author's most famous pieces, speaks of Griffith as a Dickensian director and then argues for a kind of filmmaking that transcends Griffith's literal style in order to touch its audience on an ideological and metaphorical level. This volume also includes the notorious "statement" on sound movies, which argues against the use of synchronous sound and in favor of jarring, contrapuntal audio that Eisenstein believed would add new dimensions to the talking picture. Idiosyncratic, engrossing, and brilliant, Eisenstein's essays will inspire you to reevaluate everything you thought you knew about the movies.

Customer Reviews


As many of the early film theorists, Eisenstein has a tendency to propose as universals the principles of a specific school. The Soviet school of montage, whose heyday was in the late 20s, finds its most brilliant auteur here expounding not only upon its philosophy of cinema, but on ways in which this philosophy is in fitting with Marxism, the Hegelian dialectic and science. As such, it is a brilliant manifesto, a seminal work of greater value than any of those by Kuleshov, Pudovkin, Vertov, Dovzhenko or other montagists.

Nonetheless, it is problematic in several ways, and an understanding of the nature of its idiosyncrasies is extremely valuable. First, in an effort to "prove" his hypotheses, Eisenstein often attempts to reconcile film and physics in ways that are inappropriate and pseudo-scientific. He presents himself, in that sense, as both Eisenstein and amateur Einstein. Further, case studies are often chosen from his own work, in effect limiting the reader's freedom to disagree with his conclusions. Finally, the manner in which he expresses his thoughts is beyond elliptical. At times, it appears that one would have had to have been living in Russia at the time that these essays were written and to have been thinking about the same issues that Eisenstein was to comprehend what he is getting at. [On the other hand, for those who have had the joy of reading Wittgenstein, for example, this should be a good book to take to the beach.]

As indicated above, these problems can be explained. Communists have always had a complex relationship with the Social Darwinists. On one hand, Marxism was born out of progressive, evolutionary thinking; on the other hand, Marxists dismiss the idea of "survival of the fittest" as primitive and untenable. Soviet biologists often found themselves in the unique position of having to reconcile their theories with the party line, supported by hand selected data. In the end, of course, the value of art and science were measured by the rigid slide rule of the Communist Party. Science that did not promote its agenda was considered "anti-revolutionary."

Eisenstein is the very Comrade Lysenko of cinema. He hoists high the myth of science (i.e., the systematic study of physical Truth), reduced essentially to propaganda, and borne along on the shoulders of dubious examples. The most convenient (most incontrovertible) of these are those taken from his own films, the full meaning of which belongs to his own demesne. The language Eisenstein uses to construct his arguments is wisely selected: The more clearly one understands his propagandist averments and the less clearly the logic upon which they are based, the more likely one is to accept them as fact. Somewhat hypocritically, then, Eisenstein selects the voice of the intellectual elite to speak to the masses, hiding his true political intentions behind a veil of empty esotericism. Like the soothsayer, the illusionist and the ringleader, "Film Form" operates in the realm of baseless belief in which arguments gain validity relative not to WHAT they say but the WAY in which they say it. For this very reason, it is an important read... the very dogma of Bolshevik art.


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