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From the first contacts between European conquerors and the peoples of the Americas, objects were exchanged and treasures pillaged, as if each side were seeking to appropriate tangible fragments of the "world" of the other. Soon, too, the collision between the arts of Renaissance Europe and pre-Hispanic America produced new objects and new images with the most diverse usages and forms. Scholars have used terms such as syncretism, fusion, juxtaposition, and hybridity in describing these new works of art, but none of them, asserts Alessandra Russo, adequately conveys the impact that the European artistic world had on the Mesoamerican artistic world, nor treats the ways in which pre-Hispanic traditions, expertise, and techniques—as well as the creation of post-Conquest images—transformed the course of Western art. This innovative study focuses on three sets of paradigmatic images created in New Spain between the sixteenth and seventeenth centuries—feather mosaics, geographical maps, and graffiti—to propose that the singularity of these creations does not arise from a syncretic impulse, but rather from a complex process of "untranslatability." Foregrounding the distances and differences between incomparable theories and practices of images, Russo demonstrates how the constant effort to understand, translate, adapt, decode, transform, actualize, and condense Mesoamerican and European aesthetics, traditions, knowledge, techniques, and concepts constituted an exceptional engine of unprecedented visual and verbal creativity in the early modern transatlantic world.
Against World Literature: On the Politics of Untranslatability argues for a rethinking of comparative literature focusing on the problems that emerge when large-scale paradigms of literary studies ignore the politics of the “Untranslatable”—the realm of those words that are continually retranslated, mistranslated, transferred from language to language, or especially resistant to substitution. In the place of “World Literature”—a dominant paradigm in the humanities, one grounded in market-driven notions of readability and universal appeal—Apter proposes a plurality of “world literatures” oriented around philosophical concepts and geopolitical pressure points. The history and theory of the language that constructs World Literature is critically examined with a special focus on Weltliteratur, literary world systems, narrative ecosystems, language borders and checkpoints, theologies of translation, and planetary devolution in a book set to revolutionize the discipline of comparative literature.
Discover words to surprise, delight, and enamor. Learn terms for the sunlight that filters through the leaves of trees, for dancing awkwardly but with relish, and for the look shared by two people who each wish the other would speak first. Other-Wordly is an irresistible ebook for lovers of words and those lost for words alike.
Moche murals of northern Peru represent one of the great, yet still largely unknown, artistic traditions of the ancient Americas. Created in an era without written scripts, these murals are key to understandings of Moche history, society, and culture. In this first comprehensive study on the subject, Lisa Trever develops an interdisciplinary methodology of “archaeo art history” to examine how ancient histories of art can be written without texts, boldly inverting the typical relationship of art to archaeology. Trever argues that early coastal artistic traditions cannot be reduced uncritically to interpretations based in much later Inca histories of the Andean highlands. Instead, the author seeks the origins of Moche mural art, and its emphasis on figuration, in the deep past of the Pacific coast of South America. Image Encounters shows how formal transformations in Moche mural art, before and after the seventh century, were part of broader changes to the work that images were made to perform at Huacas de Moche, El Brujo, Pañamarca, and elsewhere in an increasingly complex social and political world. In doing so, this book reveals alternative evidentiary foundations for histories of art and visual experience.
From the author of Eating the Sun, an artistic collection of more than 50 drawings featuring unique, funny, and poignant foreign words that have no direct translation into English Did you know that the Japanese language has a word to express the way sunlight filters through the leaves of trees? Or that there’s a Finnish word for the distance a reindeer can travel before needing to rest? Lost in Translation brings to life more than fifty words that don’t have direct English translations with charming illustrations of their tender, poignant, and humorous definitions. Often these words provide insight into the cultures they come from, such as the Brazilian Portuguese word for running your fingers through a lover’s hair, the Italian word for being moved to tears by a story, or the Swedish word for a third cup of coffee. In this clever and beautifully rendered exploration of the subtleties of communication, you’ll find new ways to express yourself while getting lost in the artistry of imperfect translation.
"Image Studies provides an engaging introduction to visual studies analysis and an account of existing and emergent visual culture debates, along with chapters on a range of topics, including: consumer culture and identity; photography and digital imaging; painting and drawing; the moving image; the relationship between image and text (including reference to text in art, comics and animation); and scientific imaging. Written in an engaging and accessible way, the text will also include extracts of existing critical materials. Each chapter will include key set readings, including short extracts from existing literatures with accompanying study notes and questions. The chapters will also include a range of critical and creative tasks, designed to bring the academic study of visual culture into direct contact with practical aspects of visual culture and image-making. Image Studies is a new text aimed predominantly at undergraduate students in visual culture, but which will also be useful for media studies students and arts students more generally"--
Characters in some languages, particularly Hebrew and Arabic, may not display properly due to device limitations. Transliterations of terms appear before the representations in foreign characters. This is an encyclopedic dictionary of close to 400 important philosophical, literary, and political terms and concepts that defy easy—or any—translation from one language and culture to another. Drawn from more than a dozen languages, terms such as Dasein (German), pravda (Russian), saudade (Portuguese), and stato (Italian) are thoroughly examined in all their cross-linguistic and cross-cultural complexities. Spanning the classical, medieval, early modern, modern, and contemporary periods, these are terms that influence thinking across the humanities. The entries, written by more than 150 distinguished scholars, describe the origins and meanings of each term, the history and context of its usage, its translations into other languages, and its use in notable texts. The dictionary also includes essays on the special characteristics of particular languages--English, French, German, Greek, Italian, Portuguese, Russian, and Spanish. Originally published in French, this one-of-a-kind reference work is now available in English for the first time, with new contributions from Judith Butler, Daniel Heller-Roazen, Ben Kafka, Kevin McLaughlin, Kenneth Reinhard, Stella Sandford, Gayatri Chakravorty Spivak, Jane Tylus, Anthony Vidler, Susan Wolfson, Robert J. C. Young, and many more.The result is an invaluable reference for students, scholars, and general readers interested in the multilingual lives of some of our most influential words and ideas. Covers close to 400 important philosophical, literary, and political terms that defy easy translation between languages and cultures Includes terms from more than a dozen languages Entries written by more than 150 distinguished thinkers Available in English for the first time, with new contributions by Judith Butler, Daniel Heller-Roazen, Ben Kafka, Kevin McLaughlin, Kenneth Reinhard, Stella Sandford, Gayatri Chakravorty Spivak, Jane Tylus, Anthony Vidler, Susan Wolfson, Robert J. C. Young, and many more Contains extensive cross-references and bibliographies An invaluable resource for students and scholars across the humanities
In seventeenth-century Spanish America, black linguistic interpreters and spiritual intermediaries played key roles in the production of writings about black men and women. Focusing on the African diaspora in Peru and the southern continental Caribbean, Larissa Brewer-García uncovers long-ignored or lost archival materials describing the experiences of black Christians in the transatlantic slave trade and the colonial societies where they arrived. Brewer-García's analysis of these materials shows that black intermediaries bridged divisions among the populations implicated in the slave trade, exerting influence over colonial Spanish American writings and emerging racial hierarchies in the Atlantic world. The translated portrayals of blackness composed by these intermediaries stood in stark contrast to the pejorative stereotypes common in literary and legal texts of the period. Brewer-García reconstructs the context of those translations and traces the contours and consequences of their notions of blackness, which were characterized by physical beauty and spiritual virtue.
Although comparative exercises are used or applied both explicitly and implicitly in a large number of archaeological publications, they are often uncritically taken for granted. As such, the authors of this book reflect on comparison as a core theme in archaeology from different perspectives, and different theoretical and practical backgrounds. The contributors come from different universities and research contexts, and approach themes and objects from Prehistory to the Early Middle Ages, presenting case studies from Western Europe, the Near East and Latin America. The chapters here also relate archaeology with other disciplines, like art studies, photography, cinema, computer sciences and anthropology, and will be of interest to a wide range of readers, not only archaeologists and those interested in the area of social sciences, but for all those interested in how we construct the past today.
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen-Aponte also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness. This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.