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The Premise of Fidelity puts forward a new history of Japanese visuality through an examination of the discourses and practices surrounding the nineteenth century transposition of "the real" in the decades before photography was introduced. This intellectual history is informed by a careful examination of a network of local scholars—from physicians to farmers to bureaucrats—known as Shōhyaku-sha. In their archival materials, these scholars used the term shashin (which would, years later, come to signify "photography" in Japanese) in a wide variety of medical, botanical, and pictorial practices. These scholars pursued questions of the relationship between what they observed and what they believed they knew, in the process investigating scientific ideas and practices by obsessively naming and classifying, and then rendering through highly accurate illustration, the objects of their study. This book is an exploration of the process by which the Shōhyaku-sha shaped the concept of shashin. As such, it disrupts the dominant narratives of photography, art, and science in Japan, providing a prehistory of Japanese photography that requires the accepted history of the discipline to be rewritten.
A Fresh and Important New Way to Understand Why We Buy Why did the RAZR ultimately ruin Motorola? Why does Wal-Mart dominate rural and suburban areas but falter in large cities? Why did Starbucks stumble just when it seemed unstoppable? The answer lies in the ever-present tension between fidelity (the quality of a consumer’s experience) and convenience (the ease of getting and paying for a product). In Trade-Off, Kevin Maney shows how these conflicting forces determine the success, or failure, of new products and services in the marketplace. He shows that almost every decision we make as consumers involves a trade-off between fidelity and convenience–between the products we love and the products we need. Rock stars sell out concerts because the experience is high in fidelity-–it can’t be replicated in any other way, and because of that, we are willing to suffer inconvenience for the experience. In contrast, a downloaded MP3 of a song is low in fidelity, but consumers buy music online because it’s superconvenient. Products that are at one extreme or the other–those that are high in fidelity or high in convenience–-tend to be successful. The things that fall into the middle-–products or services that have moderate fidelity and convenience-–fail to win an enthusiastic audience. Using examples from Amazon and Disney to People Express and the invention of the ATM, Maney demonstrates that the most successful companies skew their offerings to either one extreme or the other-–fidelity or convenience-–in shaping products and building brands.
“Opens a fascinating window into the history of Japan’s relationship to its natural environment. . . . A must-read for historians of early modern science.” —New Books in East Asian Studies Between the early seventeenth and the mid-nineteenth century, the field of natural history in Japan separated itself from the discipline of medicine, produced knowledge that questioned the traditional religious and philosophical understandings of the world, developed into a system (called honzogaku) that rivaled Western science in complexity—and then seemingly disappeared. Or did it? In The Knowledge of Nature and the Nature of Knowledge in Early Modern Japan, Federico Marcon recounts how Japanese scholars developed a sophisticated discipline of natural history analogous to Europe’s but created independently, without direct influence, and argues convincingly that Japanese natural history succumbed to Western science not because of suppression and substitution, as scholars traditionally have contended, but by adaptation and transformation. The first book-length English-language study devoted to the important field of honzogaku, The Knowledge of Nature and the Nature of Knowledge in Early Modern Japan will be an essential text for historians of Japanese and East Asian science, and a fascinating read for anyone interested in the development of science in the early modern era. “Marcon introduces to a Western readership for the first time the early history of natural history in Japan . . . Who those naturalists were, how they fitted into society, and what they accomplished, is Marcon’s beautifully told story.” —Archives of Natural History “A bold attempt to provincialize Eurocentric narratives of modernity’s relation to nature.” —Canadian Journal of History “An essential resource.” —Journal of Japanese Studies
Fifty percent of Hollywood productions each year are adaptations--films that use an already published book, dramatic work, or comic as their source material. If the original is well known, then for most spectators the question of whether these adaptations are "true to the spirit" of the original is central. The recent wave of adaptation studies dismisses the question of fidelity as irrelevant, mistaken, or an affront to the unstable nature of meaning itself. The essays gathered here, mixing the field's top authorities (Andrew, Gunning, Jameson, Mulvey, and Naremore) with fresh new voices, take the question of correspondence between source and adaptation as seriously as do producers and audiences. Spanning examples from Shakespeare to Ghost World, and addressing such notable directors as Welles, Kubrick, Hawks, Tarkovsky, and Ophuls, the contributors write against the grain of recent adaption studies by investigating the question of what fidelity might mean in its broadest and truest sense, what it might reveal of the adaptive process, and why it is still one of the richest veins of investigation in the study of cinema.
A beautiful L.A. woman goes undercover as a "fidelity inspector" to find out who's faithful and who's not in this dazzling commercial debut. Working under the code name Ashlyn, Jennifer Hunter is hired by suspicious wives and girlfriends to conduct her infamous "fidelity inspection" on the men in their lives. Between bachelor parties and business trips, "Ashlyn" has successfully exposed hundreds of unfaithful men. Of course, she never actually sleeps with any of them; she tests for an intention to cheat only. But Jen's double life starts to take its toll and her friends suspect that the reason she hasn't had a date in two years is more complicated than the demands of her supposed "investment banking" career. And when a suspicious email surfaces with her picture on it warning men of her real motives, Jen fears that her secret identity is in danger of being uncovered. Plus, her best friend Sophie now plans to hire "Ashlyn" for an inspection of her own! Just when it seems like nothing is going her way, Jen meets sexy, sophisticated Jamie Richards. She knows there's no room for romance in her life, but she finds herself more and more drawn to him. It doesn't take long to realize it's time to retire Ashlyn for the sake of true love but not before taking on one last assignment--a job which will change everything.
A wise and hilarious novel about love, heartbreak, and rock and roll from the bestselling author of About a Boy and Dickens and Prince Now a Hulu series starring Zoë Kravitz! "I've always loved Nick Hornby, and the way he writes characters and the way he thinks. It's funny and heartbreaking all at the same time."—Zoë Kravitz Rob is a pop music junkie who runs his own semi-failing record store. His girlfriend, Laura, has just left him for the guy upstairs, and Rob is both miserable and relieved. After all, could he have spent his life with someone who has a bad record collection? Rob seeks refuge in the company of the offbeat clerks at his store, who endlessly review their top five films; top five Elvis Costello songs; top five episodes of Cheers. Rob tries dating a singer, but maybe it's just that he's always wanted to sleep with someone who has a record contract. Then he sees Laura again. And Rob begins to think that life with kids, marriage, barbecues, and soft rock CDs might not be so bad.
Redhill conjures up many unexpected twists in ten richly textured stories that range from the darkness of family silences to the hilarity of people caught in their own snares. With his unflinching attention to emotional detail, Redhill proves once again to be "a writer of considerable humanity and insight" (A.L. Kennedy).
She needs an assassin. They’re the best in the business. Falling in love was never part of the deal. Desperate to escape her abusive husband, Justine hires a contract killer. Campbell’s services come at a high price, and their dark, seductive charisma leads Justine right into their bed. Hiding an affair while Campbell designs the perfect murder has Justine walking a tightrope of stress, but each time the two of them sleep together, it’s harder not to get attached. Campbell struggles with their own traumatic past, convinced that the truth will drive Justine away. There’s a faint hope that things could work, save for one problem: Justine’s husband wants her dead too. Revenge is easy—heartbreak could cost both of them everything.
As Evan and Matt's friendship turns into something deeper, both of them struggle to reconcile their overwhelming feelings for one another.
Walter Brueggemann has been one of the leading voices in Hebrew Bible interpretation for decades; his landmark works in Old Testament theology have inspired and informed a generation of students, scholars, and preachers. These chapters gather his recent addresses and essays on every part of the Hebrew Bible, many of them never published before, bringing his erudition to bear on those practices—prophecy, lament, prayer, faithful imagination, and a holy economics—that alone may usher in a humane and peaceful future for our cities.