Free Download Spectral Evidence: The Photography of TraumaBy Ulrich Baer

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In this remarkable contribution to photographic criticism and psychoanalytic literature, Ulrich Baer traces the hitherto overlooked connection between the experience of trauma and the photographic image. Instead of treating trauma as a photographic "theme," Baer examines the striking parallel between those moments arrested mechanically by photography and those arrested experientially by the traumatized psyche -- moments that bypass normal cognition and memory. Taking as points of departure Charcot's images of hysteria and Freud's suggestion that the unconscious is structured like a camera, Baer shows how the invention of photography and the emergence of the modern category of "trauma" intersect. Drawing on recent work in the field of trauma studies, he shows how experiences that are inherently split between their occurrence and their remembrance might register in and as photographic images.In light of contemporary discussions of recovered memories and the limits of representing such catastrophes as the Holocaust, Baer examines photographs of artistic, medical, and historical subjects from the perspective of witnessing rather than merely viewing. He shows how historicist approaches to photography paradoxically overlook precisely those cataclysmic experiences that define our age. The photograph's apparent immunity to time is seen as a call for a future response--a response that is prompted by the ghostly afterlife of every photograph's subject. In a moving discussion of a rare collection of color slides taken by a Nazi official in the Lodz ghetto, Baer makes us aware that it is the viewer's responsibility to account for the spectral evidence embedded in every image.

• Sales Rank: #2765263 in Books
• Published on: 2002-07-01
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .50" w x 7.00" l, 1.50 pounds
• Binding: Hardcover
• 216 pages

From Library Journal
Applying psychoanalytical theory to photo criticism, Baer (German, NYU) makes comparisons between the notion of the photograph's "arrested moment" and how the human psyche processes trauma. He draws from Freud, Barthes, Benjamin, and Charcot, as well as recent studies in trauma, to prove that images representing a traumatic history lack the concept of "future" and forward movement that characterizes conventional documentary photographs. Traumatic memory, like the camera, freezes the moment and removes it from the forward motion of linear time. Instead of sensational images, as the title might suggest, Baer uses seemingly commonplace photographs to illustrate his ideas, thus placing the viewer in the role of witness instead of innocent onlooker. Ultimately, Baer is able to support his premise by establishing the connection between the concept of trauma and the development of the photograph, making this research original as well as timely. Baer is the editor of No One Bears Witness for the Witness: The Culture of Memory and Historical Responsibility after the Shoah and the forthcoming 110 Stories: New York Writes After September 11. The current volume contains an extensive bibliography and notes and is recommended for graduate and research collections. Shauna Frischkorn, Millersville Univ. Lib., PA
Copyright 2002 Cahners Business Information, Inc.

Review

"Whether he's discussing the relationship between AIDS-activist video and Charles Ludlam's aesthetic of the ridiculous, applying Walter Benjamin's concept of messianic time to the experience of living with AIDS, or exploring the ethical position of film as witness, Gregg Bordowitz is at once passionately committed to socially engaged, theoretically informed art and searchingly honest about its difficulties. Representing a unique voice that refuses to separate the personal and the political, this is an indispensable collection for anyone interested in contemporary debates about cultural politics."--Rosalyn Deutsche, Barnard College, author of *Evictions: Art and Spatial Politics*Please note: "Ludlam" was misspelled in previous version.

"Baer seeks to usurp our common understanding of the photograph with a richly informed and persuasive discourse." Robert Pepperell Leonardo

"Genuinely interesting, original, and well-written. The book's arguments will be especially relevant to scholars of the still-developing field of photo-history and criticism."--Geoffrey Batchen, Professor of Art History, City University of New York Graduate Center

"This book introduces photography into the rapidly expanding arena of interdisciplinary debates about collective trauma, memory, and representation. Arguing that photography and traumatic events have a common structure, Baer pleads with great sensitivity for an ethical way of seeing--witnessing--that both respects and responds to the unknowable reality of trauma. A welcome contribution to an urgent discussion."--Rosalyn Deutsche, Barnard College, author of *Evictions: Art and Spatial Politics*

"Georges Didi-Huberman's *Invention of Hysteria* is an almost legendary text, so influential has it been on cultural criticism, and this even before its very welcome translation into English. Written in a style that is at once literary and philosophical, Didi-Huberman brilliantly demonstrates how a study of hysteria in the nineteenth century continues to have profound relevance for anyone interested in questions of culture and its embodiment -- that is, questions concerning the workings of power. The author's erudite combination of visual and textual research and provocative analysis has produced a book that will be equally crucial to scholars of medicine, feminism, psychoanalysis, literature, photography, art history, the body, or postmodern theory, to name only a few of the fields it touches on. But it's also simply a great read, an artful rendition of history that reminds us of the extent to which the 'weird science' of the nineteenth century still haunts our thinking to this day."--Geoffrey Batchen, Professor of Art History, City University of New York Graduate CenterPlease note: Endorser gives permission to excerpt from quote.

About the Author
Ulrich Baer is Associate Professor of German and Comparative Literature at New York University.

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Download PDF Starting Tomorrow: 7 Steps to Lasting Change - Get Stuff Done and Have More Fun!By Dr. Kim Kensington Psy.D.

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• Sales Rank: #1528496 in Books
• Published on: 2015-12-24
• Original language: English
• Dimensions: 11.00" h x .38" w x 8.50" l,
• Binding: Paperback
• 166 pages

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Ebook Download Sailing a Serious Ocean: Sailboats, Storms, Stories and Lessons Learned from 30 Years at Sea

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}

Audible Audiobook

Listening Length: 10 hours and 37 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Tantor Audio

Audible.com Release Date: February 26, 2019

Language: English, English

ASIN: B07NHTF1FR

Amazon Best Sellers Rank:

Sailing a Serious Ocean is John Kretschmer's memoir about 30 years of sailing as a delivery boat captain and off-shore passage instructor. Along the way, Kretschmer tries to teach about not just passage making, but also how to evaluate and buy a boat for such an adventure, what to do when the ocean becomes "serious", and recommends other books for deeper reading about storm tactics and so forth. But the real reason to buy and read this book is the stories, because while Kretschmer's an experienced sailor and probably a good instructor, he's a lousy technical writer.Every chapter of the book's anchored by one or several anecdotes or stories. These are really exciting and impressive. When you set out specifically to teach off-shore passage making, your intention is to expose your crew mates (and yourself) to heavy weather sailing. The net result is that you're intentionally making poor sailing decisions like leaving port as a storm is starting. While Krestchmer doesn't go out of the way to tell you how harrowing the passage is, the events that happen tell the story. In every case, there's at least one incident which causes a flooded cockpit. In some cases, the hatch into the cabin was left open so the living space gets a deluge of water as well. (Kretschmer provides good reason as to why this was the case, so he's not entirely an incompetent skipper)In one story, he tells of a daughter whose father is swept off the boat by a massive wave, and she can do nothing but watch as he drowns as she is unable to pull him back aboard. With reasonable humility, Kretschmer observes that he was more lucky than good: the other boat simply was at the wrong place at the wrong time.It's clear that Kreschmer has been everywhere, though this book focuses mostly on the Atlantic with a side-helping of the Mediterranean. While I'm unfamiliar with the Atlantic, I have sailed the Mediterranean, and I agree with his observations that you either get too little wind or too much wind, with nothing in between.There's a significant bit of sailboat philosphy in the book, as Kretschmer tries to justify his love of off-shore passage making, which he knows is dangerous. Some of it is related to sailing:Fear leads to inaction and then finally to panic, and that’s a deadly course to follow. The majority of sailing disasters result from boats and crews taking passive approaches to storm conditions. Staying engaged with the boat and the situation is the single most important heavy-weather tactic. You made the decision to go to sea and you own your decision. It’s your storm and you have to deal with it. You can’t just push the reset button.(Loc 2989-93)Some of it is related to life, and why he deliberately chose a "career" that's fundamentally kept him relatively poor financially but rich in experience:And time, the most precious commodity of all, far more valuable than gold, has been devalued as people are forced to squander it in a terribly backward equation—trading it for money. Just how crazy is that? Who, when their allotment of time is all but spent, would not trade every bit of gold for just a fraction more time?(Loc. 1755-57)Kretschmer does note (and it's something that I've observed as well), that outdoor life and experience makes us all equal and honest. When you're on a sailboat with gale force winds coming down on you, it doesn't matter what your credentials or job title is, your life is on the line just as well as anybody else's is on the boat. You can't politically-maneuver out of storms, nor can you bluff your way down a mountain on a twisty windy descent. You either have the skills, mind-set, and ability to do so, or you don't. That's why those of us who regularly do outdoor activities have a more trusting and open mind-set than those who don't: when you regularly face natural disasters, more people are willing to help you with no agenda than when you're in the office facing the next performance review, and that can't help but spill over into the rest of your life as well.The weakest part of the book is on the technical side. Kretschmer tries to teach you what kind of features to look for in a boat with blue-water aspirations, but with his many years of experience and hanging out with people familiar with technical jargon, he's not only unable to explain things clearly, he fails to start with engineering principles behind blue-water sailboats. For instance, he talks about how pretty a boat should look with its line and beam, but doesn't explain that a wide boat with spacious living quarters wouldn't handle well in a storm because the high waterline would provide too big a surface area for wind to catch and thereby hinder control in high winds. Instead, he praises the Contessa 32 as a submarine with a mast attached, leaving the reader to extract the principle of boat design from that metaphor.Here's what I was able to extract from the book in that respect: you want a boat with the rudder amid-ships rather than at the end of the boat like performance cruisers have. The reason is when the boat's being pitched in steep seas, you'll end up with the rudder out of the water, which means you can't steer at precisely the most important time when steering is important. You want a boat with multiple sail plans, so sloops and cutters aren't that great, since roller furling head sails aren't very good when in a storm: chafing at the furling line could easily unfurl the sail at just the wrong time, and stay sails that are heavy and hank on are actually more reliable. Finally, you want as low a waterline as you can find to reduce windage. He claims that design is more important than construction, but really should have emphasized that design and construction are both incredibly important.My biggest criticism of the book as such is that it appears Kretschmer has no experience sailing Catamarans, so he doesn't address that important topic. He also doesn't provide references to other books that would cover that gap. He addresses storm tactics in a fine and reasonable fashion, but again, those are mostly restricted to the boats he's delivered and owned. The diagrams in the book are nice, but of course, next to useless on the Kindle version. (He does explain the The Perfect Storm was riddled with technical inaccuracies and was written by a landlubber, but fails to provide explanations of how you could tell)All in all, the book's a fun read and enjoyable even if you're not a sailor, or even if you have no intention of ever making an off-shore passage. And if you do intend to make an off-shore passage, booking a passage with Kretschmer is probably a must-do.My one caveat with this book is that if you do intend to make an off-shore passage at some point, by no means should you allow your spouse to read this book. You will absolutely not be allowed to go if that happens!

I regard John Kretschmer as the poet laureate of cruising sailors. His writing is that good - uncluttered, easy to read, gripping, and expressive. Sailing a Serious Ocean is sort of the third in a trilogy of John’s books, beginning with Cape Horn to Starboard and continuing with Flirting With Mermaids. In each of these three books, John uses a chapter in his personal life as the frame for telling his sea stories, and for offering philosophical and practical advice on how to deal with the vicissitudes of King Neptune. He bares his soul for the reader.Having had the privilege of sailing with John, I can say that the person who comes across in his books is exactly the person that he is - intelligent, an easy conversationalist, an excellent listener, and a great sense of humor with a healthy dose of self-deprecation. He treats everyone he meets as a friend, and he never fails to show kindness towards those of us who may gotten in a little over our heads.

I read the book as a fun read vs the business, leadership or self-help books I often read. Then about ½ way through I realized I need to read this again, with more highlighting and notes. As a captain and sailing instructor myself, this book provided so many real life examples and mistakes I don’t need to make now. Plus it reawakened my desire to cross more oceans and see distant lands. Bravo JK

While no real training is laid out , the book adds tips in stories . Great one liners " He was still in a leg brace that trip , one of my best crew was pretty limited . But No matter how rough it got ," he could make a sandwich & drink for anyone who may be steering" . One rich boat owner was found smiling at the wheel , as everyone came up from below ,hearing a loud grinding sound . " You said you are not a sailor till you run aground " .Never really pins down a favorite boat or manufacture . Sort of a 10 boat " these are OK " or " it's ugly , slow , but drifts well in heavy seas " . Not the best , but did 30K miles at sea on one . No real catamaran stories / details . Great book .

This is a must read for those like me who dream of buying a fast performance cruiser to sail the seven seas. The book is an excellent account of heavy weather sailing with many sidebars about weather, the state of the sea's roughness, and an examination of what makes a good boat for heavy weather sailing. John Kretschmer is a great writer and has well over 300,000 miles delivering boats around the world, teaching would be world cruisers in the sailors arts, and conducting seminars on blue water sailing. John bought his current boat, a Kaufman 47, and has sailed the boat all over the globe. The book has impressed me in a number of ways, and I highly recommend it to would be global cruisers. John's writing puts the reader in the middle of the action.

This is one of the best books I have read to give me a better understanding of passages and storm tactics. His entertaining writing style adds to the enjoyment as well as his humility.

John writes with an easy-flowing style about his life on the sea. His knowledge, wit and humor shine through on every page.I love how he shows some of the real feelings of untying from the security? of land, the lessons learned on the sea and knowledge gained through some hard knocks. Taking responsibility for the errors of his crew shows he knows the place of a captain, yet he remains humble.Some good takeaways for me are the value of the stays'l, the ability to pull in a reef while off the wind, and in general the importance of high quality gear.Thanks for some good sea stories John! I hope to see you out there!Keith DezelleS/V Sofia, Tayana 42V, currently in Bocas del Toro, Panama

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Download PDF The Rhetorical Tradition: Readings from Classical Times to the PresentBy Patricia Bizzell, Bruce Herzberg

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The Rhetorical Tradition — the first comprehensive anthology of primary texts covering the history of rhetoric — examines rhetorical theory from classical antiquity through the modern period. Extensive editorial material makes it an essential text for the beginning student as well as the professional scholar.

• Sales Rank: #15245 in Books
• Brand: Bizzell, Patricia (EDT)/ Bizzell, Patricia/ Herzberg, Bruce (EDT)
• Published on: 2000-12-22
• Original language: English
• Number of items: 1
• Dimensions: 9.54" h x 1.99" w x 7.43" l, 3.65 pounds
• Binding: Hardcover
• 1673 pages

Features

• Brand New The Rhetorical Tradition

About the Author
PATRICIA BIZZELL (Ph.D. Rutgers University) is professor of English at the College of the Holy Cross. With Bruce Herzberg she has published Negotiating Difference (Bedford/St. Martin's, 1996), and with Bruce Herzberg and Nedra Reynolds, The Bedford Bibliography for Teachers of Writing, Fifth Edition (Bedford/St. Martin's, 2000).

BRUCE HERZBERG (Ph.D. Rutgers University) is professor and Chair of English at Bentley College. With Patricia Bizzell he has published Negotiating Difference (Bedford/St. Martin's, 1996), and with Patricia Bizzell and Nedra Reynolds, The Bedford Bibliography for Teachers of Writing, Fifth Edition (Bedford/St. Martin's, 2000).

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Ebook Download Spiritual Encounter With the Shroud: Caspar McCloud Interviews with L.A. MarzulliBy Caspar McCloud

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Caspar McCloud was interviewed by L A Marzulli for PP&S magazine in 2013 on the authenticity of the Shroud of Turin. The remarkable supernatural image seen on the Shroud changed McCloud’s life forever. He answers the questions many may eventually ask and shares his spiritual encounter, discovery, and insights with you. Come and see for yourself and learn the vital message encoded into the burial cloth of the risen Saviour.

• Sales Rank: #626110 in Books
• Published on: 2015-02-09
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .13" w x 6.00" l, .20 pounds
• Binding: Paperback
• 50 pages

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• Sales Rank: #3047664 in Books
• Published on: 2016-02-21
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .19" w x 6.00" l, .27 pounds
• Binding: Paperback
• 80 pages

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Ebook Download Solo para chicos (Spanish Edition)By Jeff Feldhahn, Eric Rice

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• Sales Rank: #5160400 in Books
• Published on: 2010-02-07
• Original language: Spanish
• Number of items: 1
• Dimensions: .50" h x 5.40" w x 8.20" l, .48 pounds
• Binding: Paperback
• 176 pages

About the Author
Jeff Feldhahn es cofundador y gerente general de la compañía tecnológica World2one y también es abogado especializado en leyes de empresas y de asociaciones sin fines de lucro. Tanto Jeff como Shaunti tienen títulos otorgados por la Universidad de Harvard, son líderes activos de grupos pequeños de su iglesia en la zona de Atlanta y son los padres un tanto privados del sueño de dos hermosos niños. / Eric Rice es dueño, director y productor de 44 Films. Vive en la zona de Atlanta con su esposa, Lisa, y sus cuatro hijos adolescentes.

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