A SCHOLARLY BOOK REPOSITORY
The Photographic Legacy of Frances Benjamin Johnston (1864–1952) draws on original papers and photographs from the Library of Congress to document the extraordinary life and nearly seventy-year career of this pioneering photographer. Maria Elizabeth Ausherman illuminates the early origins of Johnston’s style and vision, and her attempts to change society through her art. One of the first women to work in an emerging field dominated by men, Johnston achieved acclaim as an accomplished photographer and photojournalist.
As the official White House photographer for five administrations, she was instrumental in defining the medium and inspiring women to train in and appreciate photography. But it is her monumental nine-state survey of southern American architecture that stands as her most significant contribution to the history and development of photography both as art and as documentary. Through her photography, Johnston showed reverence for the beautiful historic buildings she appreciated and also helped shape architectural and photographic preservation in the United States.
Original photographs taken by the author accompany his writings and invite the reader to contemplate the often-blurred lines between reality and memory.
Lincoln’s somber portraits. Lyndon Johnson’s swearing in. George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama’s selfies to tell the stories of how presidents have participated in the medium’s transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications.
An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.
Renowned Mexican photographer Graciela Iturbide was born in Mexico City in 1942, the oldest of thirteen children. When tragedy strikes Graciela as a young mother, she turns to photography for solace and understanding.
From then on Graciela embarks on a photographic journey that takes her throughout her native Mexico, from the Sonora Desert to Juchitán to Frida Kahlo’s bathroom, and then to the United States, India, and beyond.
Photographic is a symbolic, poetic, and deeply personal graphic biography of this iconic photographer. Graciela’s journey will excite young adults and budding photographers, who will be inspired by her resolve, talent, and curiosity.
Ages twelve and up
The contributors analyze how in specific cultural and historical contexts, the camera has affected experiences of time and subjectivity, practices of ritual and tradition, and understandings of death. They highlight the links between photography and power, looking at how the camera has figured in the operations of colonialism, the development of nationalism, the transformation of monarchy, and the militarization of violence. Moving beyond a consideration of historical function or effect, the contributors also explore the forms of illumination and revelation for which the camera has offered itself as instrument and symbol. And they trace the emergent forms of alienation and spectralization, as well as the new kinds of fetishism, that photography has brought in its wake. Taken together, the essays chart a bravely interdisciplinary path to visual studies, one that places the particular knowledge of a historicized anthropology in a comparative frame and in conversation with aesthetics and art history.
Contributors. James L. Hevia, Marilyn Ivy, Thomas LaMarre, Rosalind C. Morris, Nickola Pazderic, John Pemberton, Carlos Rojas, James T. Siegel, Patricia Spyer
Photographing Eden presents the first full-length collection of poems by a major new talent. The work meditates on several ideas, the crux of which is Eden: spirituality, environmentalism, and the relationships between men and women. Observing, often through the lens of a camera, our state in the world, the poems try to focus sharply on what often seems a blur. The poems are always attentive to artistic mediums and the craft behind them because our struggle is to make something perfect in the imperfect world in which we live, while acknowledging the impossibility of that quest. Gray’s poems range all over, from adventures in Egyptian ruins with machine-gun-toting tourist police to the western edge of the foggy Irish coastline, and to the mythic past, where Adam and Eve visit a zoo and Eden has become a nature preserve.
The Mexican Revolution of 1910–1920 is among the world’s most visually documented revolutions. Coinciding with the birth of filmmaking and the increased mobility offered by the reflex camera, it received extraordinary coverage by photographers and cineastes—commercial and amateur, national and international. Many images of the Revolution remain iconic to this day—Francisco Villa galloping toward the camera; Villa lolling in the presidential chair next to Emiliano Zapata; and Zapata standing stolidly in charro raiment with a carbine in one hand and the other hand on a sword, to mention only a few. But the identities of those who created the thousands of extant images of the Mexican Revolution, and what their purposes were, remain a huge puzzle because photographers constantly plagiarized each other’s images.
In this pathfinding book, acclaimed photography historian John Mraz carries out a monumental analysis of photographs produced during the Mexican Revolution, focusing primarily on those made by Mexicans, in order to discover who took the images and why, to what ends, with what intentions, and for whom. He explores how photographers expressed their commitments visually, what aesthetic strategies they employed, and which identifications and identities they forged. Mraz demonstrates that, contrary to the myth that Agustín Víctor Casasola was “the photographer of the Revolution,” there were many who covered the long civil war, including women. He shows that specific photographers can even be linked to the contending forces and reveals a pattern of commitment that has been little commented upon in previous studies (and completely unexplored in the photography of other revolutions).
A retrospective survey of Bruce Harkness’s striking social documentary photographs and an invaluable historical record that bears witness to irrevocably lost swaths of Detroit’s social and urban fabric.
In 1980, the cities of Detroit and Hamtramck, Michigan, exercised eminent domain to develop nearly five hundred acres of land for a new industrial park and General Motors assembly plant. But the land was not vacant. Some thirty-five hundred people lived there in Poletown—some of them for their entire lives. They attended neighborhood schools and churches, worked for and patronized small businesses, walked the sidewalks, drove the streets, and tended to lawns and gardens. Harkness began photographing the area in February 1981. He recorded street scenes, intersections, panoramic views, homes, businesses, churches, and people. Ten months, ninety visits, and six hundred photographs later, it all disappeared forever.
The Poletown series established Harkness as a major Detroit documentarian. It came on the heels of late-1970s projects located in and around the city’s skid row: Cass Corridor. The images include gritty streetscapes, a portrait series depicting residents living in a crumbling apartment building, and the lively cultural milieu of a local gay and transgender bar. Most of this old portion of inner-city Detroit since has been supplanted by urban redevelopment and gentrification.
During the late 1980s, Harkness collaborated with urban historian John J. Bukowczyk on a major documentary project, Urban Interiors. While the Poletown project had documented the exteriors of buildings and streetscapes on Detroit’s East Side, Urban Interiors captured the insides of inner-city Detroit homes and businesses and included extended oral history interviews.
While Harkness has always found human dignity and resilience in his subjects, the tone of his work brightened in the 1990s alongside Detroit’s revival. Photographs from this era include blues musicians performing in clubs and at outdoor concerts and the distinctive, robust youth culture that flourished in Dearborn’s now-defunct Zone Coffee House.
Featuring images from these and other projects, Photographs from Detroit, 1975–2019 includes Harkness’s extensive notes, which describe and contextualize the encounters he shared with the people and places he photographed, and offer insight into his working methods and equipment. The volume and quality of Harkness’s work merits him recognition as one of Detroit’s most important documentary photographers during this pivotal, transitional era in the city’s history.
Harkness’s images depict the struggles and resilience of ordinary individuals and families in working-class communities who together have indelibly shaped the spirit of Detroit. This book is a must-have for Detroiters past and present as well as historians, anthropologists, social documentary advocates, and photobook collectors everywhere.
A land comprising more than fifty nations and innumerable cultural and geographic variations, from harsh desert to lush jungle, Africa has long been a favorite subject for photographers. Since the advent of the medium in the first half of the nineteenth century, a myriad of photographers—both indigenous and immigrant, amateur and professional, explorer and colonist, naturalist and artist—have recorded intrepid expeditions, documented flora and fauna, and chronicled the transformations of the cultural landscape.
Photography and Africa investigates the many themes that intertwine the photographs with the circumstances of their creation. Presenting a wealth of astonishing and rare images, Erin Haney brings together some of the most vibrant examples captured in the continent. From royal portraiture in the nineteenth-century Cape Coast to staged vignettes of old Cairo streets to apartheid-era South African resistance photography, this book illustrates the fascinating and long-standing relationship between Africa and the photograph.
A powerful and celebratory insight into Africa’s relationship with the photograph, Photography and Africa will appeal to those interested in the photography and culture of Africa and how the two have interacted and informed each other over time.
In Photography and Anthropology, Christopher Pinney presents a provocative and readable account of the strikingly parallel histories of the two disciplines, as well as a polemical narrative and overview of the use of photography by anthropologists from the 1840s to the present. Walter Benjamin suggested that photography “make[s] the difference between technology and magic visible as a thoroughly historical variable,” and Pinney here explores photography as a divinatory practice that prompted anthropologists to capture the “primitive” lives of those they studied.
Early anthropology celebrated photography as a physical record, whose authority and permanence promised an escape from the lack of certainty in speech. But later anthropologists faulted photography for failing to capture movement and process. Anthropology as a practice of “being there” has thus found itself entwined in an intimate engagement with photography as metaphor for the collection of evidence.
Through numerous examples from the annals of anthropological photography, Photography and Anthropology examines the history of anthropology’s enchantment with photography alongside the anthropological theory of photography and documentation.
With its lush and diverse landscapes, ancient ruins, and stunning architecture, China is a photographer’s dream. Exploring this visually rich and evocative country, Photography and China highlights Chinese photographers and subjects from the inception of photography to the present day.
What did the arrival of cinema do for photography? How did the moving image change our relation to the still image? Why have cinema and photography been so drawn to each other? Close-ups, freeze frames and the countless portrayals of photographers on screen are signs of cinema’s enduring attraction to the still image. Photo-stories, sequences and staged tableaux speak of the deep influence of cinema on photography.
Photography and Cinema a considers the importance of the still image for filmmakers such as the Lumière brothers, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Chris Marker, Mark Lewis, Agnès Varda, Peter Weir, Christopher Nolan and many others. In parallel it looks at the cinematic in the work of photographers and artists that include Germaine Krull, William Klein, John Baldessari, Jeff Wall, Victor Burgin and Cindy Sherman.
From film stills and flipbooks to slide shows and digital imaging, hybrid visual forms have established an ambiguous realm between motion and stillness. David Campany assembles a missing history in which photography and cinema have been each other’s muse and inspiration for over a century.
The idea of photographing the dead is as old as photography itself. For the most part, early death photographs were commissioned or taken by relatives of the deceased and preserved in the home as part of the family collection. Once thought inappropriate and macabre, today these photographs are considered to have a beneficial role in bereavement therapy.
Photography and Death reveals the beauty and significance of such images, formerly dismissed as disturbing or grotesque, and places them within the context of changing cultural attitudes towards death and loss. Excluding images of death through war, violence, or natural disasters, Audrey Linkman concentrates on photographs of natural deaths within the family. She identifies the range of death-related photographs that have been produced in both Europe and North America since the 1840s and charts changes in their treatment through the decades.
Photography and Death will interest photo, art, and social historians and practitioners in the field of bereavement therapy, as well as those who wish to better understand the images of long-lost ancestors who gaze back from the pages of family albums.
Egypt immediately conjures images of the pyramids, the temples and the Sphinx in the desert. Early photographs of Egypt took these ancient monuments as their primary subjects, and these have remained hugely influential in constructing our view of the country. But while Egypt and its monuments have been regularly photographed by foreigners, little has been known about the early days of photography among Egyptians. Photography and Egypt examines both, considering images from the mid-nineteenth century to the present day, including studio portraits, landscapes and photojournalism.
Two forces drove photography’s early development in Egypt: its link as an essential tool of archaeology and the accelerating effects of archaeological photographs on the burgeoning tourism industry. In this book, Maria Golia examines these twin drives, through the work of Europeans who travelled to Egypt as well as early Egyptian and Middle Eastern photographers. Golia examines how photography was also employed for propaganda purposes, including depictions of celebrated soldiers, workers and farmers; and how studio-based photography was used to portray the growing Egyptian middle class. Today’s young photographic artists, Golia reveals, use the medium to celebrate everyday life and to indict political and social conditions, with photography bearing witness to history––as well as helping to shape it.
Illustrated with a rich, sometimes surprising variety of images, many published for the first time in the West, Photography and Egypt is the first book to relate the story of Egypt’s rapport with photography in one concise and highly readable account.
Aerial photography is marked by its dependency on technological developments in both photography and aerospace, and the authors chart the history of this photography as it tracked the evolution of these technologies. Beginning with early images taken from hot-air balloons, fixed platforms, and subsequent handheld camera technology, Denis Cosgrove and William Fox then explain how military reconnaissance and governmental projects were instrumental in catalyzing these and other innovations in the field. They examine pivotal historical moments in which aerial photography began to establish itself as essential tool, such as in World War II military strategies, high-altitude photography taken from postwar rockets and aircraft, and the use of aerial photography during the cold war and the Cuban Missile Crisis. The book also explores the advancement of geographic scholarship through aerial photography, ranging from military excursions into Antarctica to the images of the curvature of the earth taken during the Apollo space missions.
While digital technology and remote sensing have changed the landscape of photography, Photography and Flight argues that they have not diminished the significance of aerial photography in providing images of the earth. Rather, new technologies and resulting innovations such as Google Earth have enabled the mass democratization of access to such information. Photography and Flight ultimately reveals how the camera lens from far away continues to unearth telling details about the land and those who live upon it.
Andrés Mario Zervigón covers this history from the region’s pre-photographic experiments with light-sensitive chemicals to today’s tension between analog and digital technologies. Rather than simply providing a survey of German photography, however, he focuses on how the medium, as a product of the modern age, has intervened in a fraught project of national imagining, often to productive ends but sometimes to catastrophic results. Richly illustrated with numerous previously unpublished images, Photography and Germany is the first single-authored history of photography in Germany ever published, one that deepens our broader understanding of how photography cultivates notions of a nation and its inhabitants.
In this beautifully illustrated book Maria Antonella Pelizzari traces the history of photography in Italy from its beginnings to the present as she guides us through the history of Italy and its ancient sites and Renaissance landmarks.
Pelizzari specifically considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to Unification in 1860, and later in the nationalist wars of Mussolini’s regime. While many Italians and foreigners— such as Fratelli Alinari or Carlo Ponti, John Ruskin or Kit Talbot—focused their lenses on architectural masterpieces, others documented the changing times and political heroes, creating icons of figures such as Garibaldi and the brigands. Pelizzari’s exploration of Italian visual traditions also includes the photographic collages of Bruno Munari, the neorealist work of photographers such as Franco Pinna, the bold stylized compositions of Mario Giacomelli, and the controversial images created by Oliviero Toscani for Benetton advertising in the 1980s.
Featuring unpublished works and a rare selection of over one hundred images, this book will appeal to art collectors and students of art history and Italian culture.
In Photography and Japan, Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country’s dramatic cultural, political, and social history.
Photography and Japan covers 150 years of photography, a period in which Japan has experienced some of the most significant events in modern history and made a remarkable transformation from an isolated, feudal country into an industrialized, modern world power—a transformation that included a striking rise and fall as an imperial power during the first half of the twentieth century and a miraculous economic recovery in the decades following the devastation of World War II. The history of photography has paralleled these events, becoming inextricably linked with notions of modernity and cultural change.
Through thematic chapters that focus on photography’s role in negotiating cultural identity, war, and the documentation of urban life, Photography and Japan introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known.
Aspiring writers are often admonished to “show, not tell,” an instruction that immediately speaks to the relationship between the written word and the visual world. It is a tenuous correspondence—both literature and art are striving toward the same goal of depiction, but the reality they portray is shaped by their chosen tools. As François Brunet argues in Photography and Literature, the advent of photography posed one of the greatest challenges to writers—here was an artistic medium that could almost instantly distill a scene or perspective. As Brunet shows, the result of this challenge has been a fantastic interplay between the two and between photographers and writers themselves.
Photography and Literature assess the complete history of photography, and Brunet begins by examining how the invention of photography was shaped by written culture, both scientific and literary. As well, Brunet looks at the creation of the photo-book, the frequent personal discovery of photography by writers, and how photography and literature eventually began to trade tools and merge formats to create a new photo-textual genre. Highly illustrated, Photography and Literature reflects a photographer’s point of view, giving new attention to such works as the groundbreaking exploration of photography in The Pencil of Nature by William Henry Fox Talbot and Sophie Calle’s projects with Jean Baudrillard and Paul Auster.
Essential for anyone interested in the intersection of the verbal and the visual, Photography and Literature provides a fascinating wealth of autobiography, manifesto, and fiction as well as a variety of images from the first daguerreotypes to the digital age.
Kelley Wilder draws upon her extensive background in alternative process photography, museum practice, art history, and history of science to produce a wide-ranging and illuminating investigation into the intersection of photography and science. Photography and Science describes how photography first established its legitimacy through its close association with key scientific ideas and practices, such as objectivity, observation, archiving, and experimentation. Wilder then charts how photography returned the favor by serving as a powerful influence in various scientific disciplines, such as biology and astronomy. The book digs into the controversial debates over photography’s “success” in the sciences, its use in practical fields such as medical imaging and x-raying, and the complicated relationship between scientific theory and art practice.
Augmenting this fascinating study are eighty photographs of scientific subjects and experiments, many of which are published here for the first time. A thought-provoking, broad-based examination, Photography and Science will be an essential addition to the bookshelves of scientists, photographers, and art historians alike.
Can film capture what our eyes can’t see? There are many examples—both historical and contemporary—of photographs of spirits or “ghosts.” These images alternately have been derided as hoaxes or, at the other extreme, held up as irrefutable proof of the otherworld. Photography and Spirit examines these mesmerizing images of phantoms, psychical emanations, and religious apparitions.
Drawing upon eighty images taken between 1860 and today, John Harvey explores spirit photography from the various perspectives of religion, science, and art. Some of the photographs he considers were taken by scientists, others by amateur and commercial photographers, and still others by robotic surveillance devices. The diverse origins of the spirit photographs have inspired a multiplicity of interpretations and engendered, in some cases, high levels of skepticism. Harvey’s analysis probes the connections between the images, human imagination, and larger cultural traditions. Photography and Spirit transforms what are often fringe objects of kitsch into revelatory artifacts of cultural history, drawing from them thought-provoking insights into the historical connections between the material and spiritual worlds, representations of grief, and human cultures’ enduring fascination with the supernatural.
Photo images of ethereal spirits render the border between what is real and what is fantastic indistinguishable. Photography and Spirit challenges our pre-conceived notions and offers an intriguing new perspective on the nature of photography.
Photography has a unique relationship to chance. Anyone who has wielded a camera has taken a picture ruined by an ill-timed blink or enhanced by an unexpected gesture or expression. Although this proneness to chance may amuse the casual photographer, Robin Kelsey points out that historically it has been a mixed blessing for those seeking to make photographic art. On the one hand, it has weakened the bond between maker and picture, calling into question what a photograph can be said to say. On the other hand, it has given photography an extraordinary capacity to represent the unpredictable dynamism of modern life. By delving into these matters, Photography and the Art of Chance transforms our understanding of photography and the work of some of its most brilliant practitioners.
The effort to make photographic art has involved a call and response across generations. From the introduction of photography in 1839 to the end of the analog era, practitioners such as William Henry Fox Talbot, Julia Margaret Cameron, Alfred Stieglitz, Frederick Sommer, and John Baldessari built upon and critiqued one another’s work in their struggle to reconcile aesthetic aspiration and mechanical process. The root problem was the technology’s indifference, its insistence on giving a bucket the same attention as a bishop and capturing whatever wandered before the lens. Could such an automatic mechanism accommodate imagination? Could it make art? Photography and the Art of Chance reveals how daring innovators expanded the aesthetic limits of photography to create art for a modern world.
Contributors. Mary Bergstein, Jonathan Fardy, Kristan Horton, Terri Kapsalis, Sarah Kofman, Elisabeth Lebovici, Zoe Leonard, Gabrielle Moser, Mignon Nixon, Thy Phu, Mark Reinhardt, Shawn Michelle Smith, Sharon Sliwinski, Laura Wexler, Kelly Wood, Andrés Mario Zervigón
From Ansel Adams to Carleton Watkins, Diane Arbus to Weegee, Richard Avedon to James VanDerZee, American photographers have recorded their vast, multicultural nation in images that, for more than a hundred years, have come to define the USA. In Photography and the USA, Mick Gidley explores not only the medium of photography and the efforts to capture key events and moments through photographs, but also the many ways in which the medium has played a formative role in American culture.
Photography and the USA encompasses the major movements, figures and works that are crucial to understanding American photography, but also pays attention to more obscure aspects of photography’s history. Focusing on works that reveal many different facets of America, its landscapes and its people, Gidley explores the ambiguities of American history and culture. We encounter images that range from an anti-lynching demo in 1934 to Dorothea Lange’s poster “All races serve the crops in California;” an early photographic view of Niagara Falls against the painstaking detail of Edward Weston’s Pepper, No. 30; a fireman’s fight in the San Francisco earthquake of 1906 to the Ground Zero images of 2001 by Joel Meyerowitz; an 1890s “Wanted” image to Elliot Erwitt’s shot of the Nixon–Kruschchev “Kitchen Debate.” Organizing his narrative around the themes of history, technology, the document and the emblem, Mick Gidley not only presents a history of photography, but also reveals the complexities inherent in reading photographs themselves.
A concise yet comprehensive overview of photography in the United States, this book is an excellent introduction to the subject for American Studies or visual arts students, or for anyone interested in US history or culture.
Harris combines extensive research in museums and archives with her own fieldwork in Tibetan communities to present materials that have never been examined before—including the earliest known photograph taken in Tibet, dating to 1863. She looks at the experimental camera-work of Tibetan monks—including the thirteenth Dalai Lama—and the creations of contemporary Tibetan photographers and artists. With every image she explores the complex religious, political, and cultural climate in which it was produced. Stunningly illustrated, this book will appeal to anyone interested in the dramatic history of Tibet since the mid-nineteenth century and its unique entanglements with aesthetics and modernity.
Contributors: Siobhan Angus, Ian Bourland, Oliver Coates, Kevin Coleman, Clare Corbould, Adrian De Leon, Rick Halpern, Daniel James, Tong Lam, Walter Benn Michaels, Jessica Stites Mor, Carol Quirke, Jayeeta Sharma, Erica Toffoli, Daniel Zamora
Drawing on entirely new material Eugenia Parry Janis fully analyzes the life and work of Le Gray and demonstrates the originality of his artistic achievement in the context of discoveries about his personal and professional history. Janis, approaching the photographs of Le Gray with the methods and sensibilities of an art historian, reveals telling connections between Le Gray's choices of subject matter and formal means of presentation and the existing pictorial practice of other media such as painting. This same approach makes her sensitive to Le Gray's departures from such traditional practice, and she skillfully illustrates how he evolved from student painter into master photographer. In doing so she gives us a glimpse of the way in which Le Gray's manipulation of the photographic process was always informed by his pictorial needs and by his developing style.
Smith reads Du Bois’s photographs in relation to other turn-of-the-century images such as scientific typologies, criminal mugshots, racist caricatures, and lynching photographs. By juxtaposing these images with reproductions from Du Bois’s exhibition archive, Smith shows how Du Bois deliberately challenged racist representations of African Americans. Emphasizing the importance of comparing multiple visual archives, Photography on the Color Line reinvigorates understandings of the stakes of representation and the fundamental connections between race and visual culture in the United States.
Examining photography and film, molds, rubbings, and more, Margaret Iversen considers how these artistic processes can be understood as presenting or simulating a residue, trace, or “index” of a traumatic event. These approaches, which involve close physical contact or the short-circuiting of artistic agency, are favored by artists who wish to convey the disorienting effect and elusive character of trauma. Informing the work of a number of contemporary artists—including Tacita Dean, Jasper Johns, Mary Kelly, Gabriel Orozco, and Gerhard Richter—the concept of the trace is shown to be vital for any account of the aesthetics of trauma; it has left an indelible mark on the history of photography and art as a whole.
The Middle East played a critical role in the development of photography as a new technology and an art form. Likewise, photography was instrumental in cultivating and maintaining Europe’s distinctively Orientalist vision of the Middle East. As new advances enhanced the versatility of the medium, nineteenth-century photographers were able to mass-produce images to incite and satisfy the demands of the region’s burgeoning tourist industry and the appetites of armchair travelers in Europe. In this way, the evolution of modern photography fueled an interest in visual contact with the rest of the world.
Photography’s Orientalism offers the first in-depth cultural study of the works of European and non- European photographers active in the Middle East and India, focusing on the relationship between photographic, literary, and historical representations of this region and beyond. The essays explore the relationship between art and politics by considering the connection between the European presence there and aesthetic representations produced by traveling and resident photographers, thereby contributing to how the history of photography is understood.
Richly illustrated with over 100 images, Photography’s Other Histories explores from a variety of regional, cultural, and historical perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Dine' artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria to the changing "contract" between Aboriginal subjects and photographers. Other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. Photography’s Other Histories recasts popular photography around the world, as not simply reproducing culture but creating it.
Contributors. Michael Aird, Heike Behrend, Jo-Anne Driessens, James Faris, Morris Low, Nicolas Peterson, Christopher Pinney, Roslyn Poignant, Deborah Poole, Stephen Sprague, Hulleah Tsinhnahjinnie, Christopher Wright
In the months leading up to the 1968 Olympic games in Mexico City, students took to the streets, calling for greater democratization and decrying crackdowns on political resistance by the ruling PRI party. During a mass meeting held at the Plaza of the Three Cultures in the Tlatelolco neighborhood, paramilitary forces opened fire on the gathering. The death toll from the massacre remains a contested number, ranging from an official count in the dozens to estimates in the hundreds by journalists and scholars. Rereading the legacy of this tragedy through diverse artistic-political interventions across the decades, Photopoetics at Tlatelolco explores the state’s dual repression—both the massacre’s crushing effects on the movement and the manipulation of cultural discourse and political thought in the aftermath.
Examining artifacts ranging from documentary photography and testimony to poetry, essays, chronicles, cinema, literary texts, video, and performance, Samuel Steinberg considers the broad photographic and photopoetic nature of modern witnessing as well as the specific elements of light (gunfire, flares, camera flashes) that ultimately defined the massacre. Steinberg also demonstrates the ways in which the labels of “massacre” and “sacrifice” inform contemporary perceptions of the state’s blatant and violent repression of unrest. With implications for similar processes throughout the rest of Latin America from the 1960s to the present day, Photopoetics at Tlatelolco provides a powerful new model for understanding the intersection of political history and cultural memory.
Drawing on years of archival research, interviews with artists and publishers, and the ethnographic study of their rural consumers, Christopher Pinney traces the intimate connections between the production and consumption of these images and the struggle against colonial rule. The detailed output of individual presses and artists is set against the intensification of the nationalist struggle, the constraints imposed by colonial state censorship, and fifty years of Indian independence. The reader is introduced to artists who trained within colonial art schools, others whose skills reflect their membership of traditional painting castes, and yet others who are self-taught former sign painters.
Photos of the Gods is the first comprehensive history of India’s popular visual culture. Combining anthropology, political and cultural history, and the study of aesthetic systems, and using many intriguing and unfamiliar images, the book shows that the current predicament of India cannot be understood without taking into account this complex, fascinating, and until now virtually unseen, visual history.
There’s an undeniable audacity in a poet using the word “joy” in our beleaguered world. In her new book, Karen An-hwei Lee combines scientific precision and an appetite for far-flung vocabularies with a fascination for the sources of rapturous emotion.
In poems that roam from the intimacy of prayer to the art of brewing tea, from bamboo-related famine to quasars, the globe’s minor seas, and the nuptial flight of ants, Phyla of Joy reaches toward ecstasy.
Coauthored by leading experts in the field and synthesizing the latest advances in molecular biology and ecological methods, Phyllostomid Bats is the first overview in more than forty years of the evolution of the many morphological, behavioral, physiological, and ecological adaptations in this family. Featuring abundant illustrations as well as details on the current conservation status of phyllostomid species, it is both a comprehensive reference for these ecologically vital creatures and a fascinating exploration of the evolutionary process of adaptive radiation.
In Phylogenetic Ecology, Nathan G. Swenson synthesizes this nascent field’s major conceptual, methodological, and empirical developments to provide students and practicing ecologists with a foundational overview. Along the way, he highlights those realms of phylogenetic ecology that will likely increase in relevance—such as the burgeoning subfield of phylogenomics—and shows how ecologists might lean on these new perspectives to inform their research programs.
This volume heralds the appearance, for the first time in many years, of a totally new document by Sigmund Freud. It is the draft of a lost metapsychological paper, one of twelve essays written during World War I at the peak of the master's powers. Freud intended to publish all twelve in book form, under the title Preliminaries to a Metapsychology, and thereby set out the theoretical foundations of psychoanalysis. Scholars have long lamented the disappearance without a trace of seven of these important essays.
Only in 1983 did Ilse Grubrich-Simitis happen upon this draft, in Freud's handwriting, in an old trunk containing papers and documents of his Hungarian collaborator Sándor Ferenczi. With the help of a brief letter Freud had written on the back of the last page, she soon realized that the manuscript she had found was the draft of the final paper in the series. That draft is published here in facsimile, together with a transcription in German of the facsimile and the English translation.
In the first part of the draft, which is written in a kind of shorthand, Freud contrasts the three classic transference neuroses: anxiety hysteria, conversion hysteria, and obsessional neurosis. In the second part, which is written in complete sentences, Freud undertakes a daringly speculative "phylogenetic fantasy" He explores whether the debilitating illnesses of the neurotic and the psychotic today might have originated long ago as adaptive responses of the entire species to threatening environmental changes or to traumatic events in the prehistory of mankind.
In the draft "Fantasy" Freud modifies and expands the line of reasoning he began in Totem and Taboo (1912-13) after an intensely productive exchange with Ferenczi about Lamarckian concepts, making this recovered draft of major significance to students not only of psychoanalysis but also of the social sciences, humanities, and natural sciences.
Ilse Grubrich-Simitis has contributed a detailed essay, setting the overview in the context of Freud's life, his work, and his historical and scientific prominence. She quotes from relevant letters of Freud and Ferenczi, some published here for the first time.
This fully revised edition of Phylogeny and Evolution of the Angiosperms provides an up-to-date, comprehensive overview of the evolution of and relationships among these vital plants. Incorporating molecular phylogenetics with morphological, chemical, developmental, and paleobotanical data, as well as presenting a more detailed account of early angiosperm fossils and important fossil information for each evolutionary branch of the angiosperms, the new edition integrates fossil evidence into a robust phylogenetic framework. Featuring a wealth of new color images, this highly synthetic work further reevaluates long-held evolutionary hypotheses related to flowering plants and will be an essential reference for botanists, plant systematists, and evolutionary biologists alike.
"[Phylogeny, Ecology, and Behavior] presents its arguments forcefully and cogently, with ample . . .support. Brooks and McLennan conclude as they began, with the comment that evolution is a result, not a process, and that it is the result of an interaction of a variety of processes, environmental and historical. Evolutionary explanations must consider all these components, else they are incomplete. As Darwin's explanations of descent with modification integrated genealogical and ecological information, so must workers now incorporate historical and nonhistorical, and biological and nonbiological, processes in their evolutionary perspective."—Marvalee H. Wake, Bioscience
"This book is well-written and thought-provoking, and should be read by those of us who do not routinely turn to phylogenetic analysis when investigating adaptation, evolutionary ecology and co-evolution."—Mark R. MacNair, Journal of Natural History
Phylogeography is a discipline concerned with various relationships between gene genealogies—phylogenetics—and geography. The word “phylogeography” was coined in 1987, and since then the scientific literature has reflected an exploding interest in the topic. Yet, to date, no book-length treatment of this emerging field has appeared. Phylogeography: The History and Formation of Species fills that gap.
The study of phylogeography grew out of the observation that mitochondrial DNA lineages in natural populations often display distinct geographic orientations. In recent years, the field has expanded to include assessments of nuclear as well as cytoplasmic genomes and the relationships among gene trees, population demography, and organismal history, often formalized as coalescent theory. Phylogeography has connections to molecular evolutionary genetics, natural history, population biology, paleontology, historical geography, and speciation analysis.
Phylogeography captures the conceptual and empirical richness of the field, and also the sense of genuine innovation that phylogeographic perspectives have brought to evolutionary studies. This book will be essential reading for graduate students and professionals in evolutionary biology and ecology as well as for anyone interested in the emergence of this new and integrative discipline.
All performers know that "tuning up the body" is necessary to maximize performance. A person's mannerisms, habitual patterns of movement, and posture can block the capacity for expression, often without the performer even noticing. Physical Expression and the Performing Artist offers an organized approach to movement for actors, conductors, dancers, singers, musicians---for performers of any kind.
Capturing the energy of the popular workshops presented by master movement teacher Jerald Schwiebert, the book draws from the wisdom of hatha yoga, tai chi, and Pilates as well as from the teachings of Stanislavski, Structural Integration (Rolfing), Alexander, Feldenkrais, and Laban to provide a fresh and accessible approach to movement. More than 300 anatomical drawings help readers pinpoint specific muscles, joints, and actions as they explore the capacity of the performer's physical instrument, the components of dynamic movement, and the anatomy of expression. The book's many detailed exercises bring awareness of habitual and inefficient movement and introduce the steps necessary for more efficient movement patterns in all parts of the body. This book will prove indispensable in movement courses and as a resource guide for professionals seeking to take their performances to the next level.
Circumstellar disks are vast expanses of dust that form around new stars in the earliest stages of their birth. Predicted by astronomers as early as the eighteenth century, they weren’t observed until the late twentieth century, when interstellar imaging technology enabled us to see nascent stars hundreds of light years away. Since then, circumstellar disks have become an area of intense study among astrophysicists, largely because they are thought to be the forerunners of planetary systems like our own—the possible birthplaces of planets.
This volume brings together a team of leading experts to distill the most up-to-date knowledge of circumstellar disks into a clear introductory volume. Understanding circumstellar disks requires a broad range of scientific knowledge, including chemical processes, the properties of dust and gases, hydrodynamics and magnetohydrodynamics, radiation transfer, and stellar evolution—all of which are covered in this comprehensive work, which will be indispensable for graduate students, seasoned researchers, or even advanced undergrads setting out on the study of planetary evolution.
Mahbub Rashid embarks on a fascinating journey through urban space in all of its physical and social aspects, using the theories of Foucault, Bourdieu, Lefebvre, and others to explore how consumer capitalism, colonialism, and power disparity consciously shape cities. Using two Muslim cities as case studies, Algiers (Ottoman/French) and Zanzibar (Ottoman/British), Rashid shows how Western perceptions can only view Muslim cities through the lens of colonization—a lens that distorts both physical and social space. Is it possible, he asks, to find a useable urban past in a timeline broken by colonization? He concludes that political economy may be less relevant in premodern cities, that local variation is central to the understanding of power, that cities engage more actively in social reproduction than in production, that the manipulation of space is the exercise of power, that all urban space is a conscious construct and is therefore not inevitable, and that consumer capitalism is taking over everyday life. Ultimately, we reconstruct a present from a fragmented past through local struggles against the homogenizing power of abstract space.
We all have a good idea of how we want things to go when we visit a physician. We expect to be able to explain why we are there, and we hope the physician will listen and possibly ask questions that help us clarify our thoughts. Most of us hope that the physician will provide some expression of empathy, offer a clear, nontechnical assessment of our problem, and describe "next steps" in a way that is easy to understand. Ideally, we would like to be asked about our ability to follow treatment recommendations. Some experts say that these expectations are not only reasonable but even necessary if patients are to get the care they need. Yet there is a growing body of research that suggests the reality of physician communication with patients often falls short of this ideal in many respects.
A careful analysis of the findings of this research can provide guidance to physician educators, health care administrators, and health policy makers interested in understanding the role that improved physician communication can play in improving quality of care and patient outcomes. Physician Communication with Patients summarizes findings from the academic literature pertaining to various aspects of this question, discussing those findings in the context of current pressures for change in the organization and delivery of medical services.
Physician to the World by John M. Gibson is a study of the career of William Crawford Gorgas, focusing primarily on the 22 years from the Spanish-American War until his death at the age of 65. The book details the medical community’s gradual acceptance of the mosquito theory as the cause for yellow fever epidemics and follows Gorgas as his initial skepticism gave way to belief while he participated in Walter Reed’s massive cleanup of Havana. From this success Gorgas moved to the Panama Canal Zone and a bureaucratic quagmire as he attempted to apply sanitary principles there to control yellow fever and malaria. As canal construction proceeded, assorted red-tape and critics repeatedly thwarted Gorgas’s efforts. His particular nemesis was the imperious engineer George Goethals, who ruled the construction project with an iron hand. Gorgas’s dogged persistence to make Panama healthy for both Americans and natives eventually succeeded, enabling the project to be completed with minimum loss of life. During World War I Gorgas became U.S. Surgeon General, and finally his reputation equaled his accomplishments. He traveled widely in Europe, South Africa, and South America on behalf of public health improvements and was about to begin another such journey when he died of complications from a stroke in London in 1920.
This book recasts nursing history and places it in the context of women’s history, labor history, medical history, and sociology. Removed from the limited framework of professionalization, nursing history can provide a fresh perspective on broader issues in social history. First, it offers an illuminating example of the ways in which gender informs work and, conversely. How work reproduces and transforms relationships of power and inequality.
Second, the experience of nurses adds a new dimension to our understanding of work. More than a study of professionalization, nursing history is the story of women workers’ experience in a rationalizing service industry. Like other workers, nurses faced a fundamental reorganization of work that changed the content and experience of nursing. But unlike many others, they did not suffer a dilution of skill. The book also explores the shifting configurations of social relations on the job and their implications for nurses’ work.
Third, nurses’ history provides a useful standpoint for analyzing the possibilities and limitations of women’s work.
Finally, nursing history alerts us to the complexities of working women’s consciousness, countering the common notion of women’s passivity in the workplace.
The Physician’s Hand traces nursing history from the twenties to the seventies. It begins just after World War I when the "trained nurse" had gained a secure place in medical care but not yet found a niche in the hospital. Most worked in private duty. Chapter 1 outlines the theoretical framework of professionalization. Chapter 2 examines the history and culture of hospital schools, and the following chapters focus on the changing structure and experience of nursing in its three major settings: private duty nursing, public health care, and hospital work. The conclusion weighs the competing traditions of professionalization and occupational culture in nurses’ history and their meaning for the current crisis in nursing.
The first scholarly exploration of the forums, practice, and economics of functional medicine.
Physicians of the Future interrogates the hidden logics of inclusion and exclusion in functional medicine (FM), a holistic form of personalized medicine that targets chronic disease. Rosalynn Vega uncovers how, as “wounded healers,” some FM practitioners who are former chronic disease sufferers turn their illness narratives into a form of social capital, leveraging social media to relate to patients and build practices as “doctor-influencers.” Arguing that power and authority operate distinctly in FM when compared to conventional medicine, largely because FM services are paid for out of pocket by socioeconomically privileged “clients,” Vega studies how FM practitioners engage in entrepreneurship of their own while critiquing the profit motives of the existing healthcare system, pharmaceutical industry, and insurance industry. Using data culled from online support groups, conferences, docuseries, blogs, podcasts, YouTube, and TED Talks, as well as her own battles with chronic illness, Vega argues that FM practices prioritize the individual while inadvertently reinscribing inequities based on race and class. Ultimately, she opens avenues of possibility for FM interlocutors wrestling with their responsibility for making functional medicine accessible to all.
This magnificent account of the coming of age of physics in America has been heralded as the best introduction to the history of science in the United States. Unsurpassed in its breadth and literary style, Daniel J. Kevles’s account portrays the brilliant scientists who became a powerful force in bringing the world into a revolutionary new era. The book ranges widely as it links these exciting developments to the social, cultural, and political changes that occurred from the post–Civil War years to the present. Throughout, Kevles keeps his eye on the central question of how an avowedly elitist enterprise grew and prospered in a democratic culture.
In this new edition, the author has brought the story up-to-date by providing an extensive, authoritative, and colorful account of the Superconducting Super Collider, from its origins in the international competition and intellectual needs of high-energy particle physics, through its establishment as a multibillion-dollar project, to its termination, in 1993, as a result of angry opposition within the American physics community and Congress.
Dr. Sprott shares demonstrations tested over many years in his popular public lectures on “The Wonders of Physics,” which appeal to general audiences and to students from grade school to graduate school. Science teachers at all levels will find a wealth of detail showing how to present these demonstrations to students with flair. Science professionals will find indispensable information for creating educational and entertaining public programs. Organized to teach the six major areas of classical physics—motion, heat, sound, electricity, magnetism, and light—Physics Demonstrations includes:
• a brief description of each demonstration
• materials lists, with sources for common materials
• preparation procedures
• discussions of the physics principles demonstrated
• potential safety hazards
• references for further information.
In Physics Envy, Peter Middleton examines the influence of science, particularly physics, on American poetry since World War II. He focuses on such diverse poets as Charles Olson, Muriel Rukeyser, Amiri Baraka, and Rae Armantrout, among others, revealing how the methods and language of contemporary natural and social sciences—and even the discourse of the leading popular science magazine Scientific American—shaped their work. The relationship, at times, extended in the other direction as well: leading physicists such as Robert Oppenheimer, Werner Heisenberg, and Erwin Schrödinger were interested in whether poetry might help them explain the strangeness of the new, quantum world. Physics Envy is a history of science and poetry that shows how ultimately each serves to illuminate the other in its quest for the true nature of things.
What does it mean to be Black? If Blackness is not biological in origin but socially and discursively constructed, does the meaning of Blackness change over time and space? In Physics of Blackness: Beyond the Middle Passage Epistemology, Michelle M. Wright argues that although we often explicitly define Blackness as a “what,” it in fact always operates as a “when” and a “where.”
By putting lay discourses on spacetime from physics into conversation with works on identity from the African Diaspora, Physics of Blackness explores how Middle Passage epistemology subverts racist assumptions about Blackness, yet its linear structure inhibits the kind of inclusive epistemology of Blackness needed in the twenty-first century. Wright then engages with bodies frequently excluded from contemporary mainstream consideration: Black feminists, Black queers, recent Black African immigrants to the West, and Blacks whose histories may weave in and out of the Middle Passage epistemology but do not cohere to it.
Physics of Blackness takes the reader on a journey both known and unfamiliar—from Isaac Newton’s laws of motion and gravity to the contemporary politics of diasporic Blackness in the academy, from James Baldwin’s postwar trope of the Eiffel Tower as the site for diasporic encounters to theoretical particle physics’ theory of multiverses and superpositioning, to the almost erased lives of Black African women during World War II. Accessible in its style, global in its perspective, and rigorous in its logic, Physics of Blackness will change the way you look at Blackness.
In The Physics of Extragalactic Radio Sources, David De Young provides a clearly written overview of what is currently known about these objects. A unique feature of the book is De Young's emphasis on the physical processes associated with extragalactic radio sources: their evolution, their environment, and their use as probes to solve other astrophysical problems. He also makes extensive use of the large amount of data now available from observations at x-ray, optical, and radio wavelengths to illustrate his main points.
The Physics of Extragalactic Radio Sources will be a comprehensive introduction to the field for graduate students and a useful summary for astrophysicists.
Winner of the 2010 Drue Heinz Literature Prize
The Physics of Imaginary Objects, in fifteen stories and a novella, offers a very different kind of short fiction, blending story with verse to evoke fantasy, allegory, metaphor, love, body, mind, and nearly every sensory perception. Weaving in and out of the space that connects life and death in mysterious ways, these texts use carefully honed language that suggests a newfound spirituality.
In The Physics of Time Reversal, Robert G. Sachs comprehensively treats the role of the transformation T, both as a tool for analyzing the structure of matter and as a field of fundamental research relating to CP violation. For this purpose he reformulates the definitions of T, P, and C so as to avoid subliminal assumptions of invariance. He summarizes the standard phenomenology of CP violation in the K-meson system and addresses the question of the mysterious origin of CP violation. Using simple examples based on the standard quark model, Sachs summarizes and illustrates how these phenomenological methods can be extended to analysis of future experiments on heavy mesons. He notes that his reformulated approach to conventional quantum field theory leads to new questions about the meaning of the transformations in the context of recent theoretical developments such as non-Abelian gauge theories, and he suggests ways in which these questions may lead to new directions of research.
Winner of the 2001 Joseph Hazen Education Prize of the History of Science Society
Physics, the Human Adventure is the third edition of the classic text Introduction to Concepts and Theories in Physical Science. Authored by Gerald Holton, the text was a landmark in science education. It was the first modern textbook in physics (or in any other science) to make full and effective use of the history and philosophy of science in presenting for both the general and the science-oriented student an account of the nature of physical science. A second edition, prepared by Stephen G. Brush, brought the book up to date by increasing the coverage of topics in modern physics and by taking account of recent scholarly research in the history of science.
In the new book Physics, The Human Adventure, each of the chapters has been reworked to further clarify the physics concepts and to incorporate recent physical advances and research. The book shows the unifying power of science by bringing in connections to chemistry, astronomy, and geoscience. In short, the aid of the new edition is to teach good physics while presenting physical science as a human adventure that has become a major force in our civilization.
New chapters discuss theories of the origin of the solar system and the expanding universe; fission, fusion, and the Big Bang–Steady State Controversy; and thematic elements and styles in scientific thought. New topics include:
• Theories of vision: does the eye send out rays or receive them?
• Distances in the solar system
• The prediction of the return of Halley’s comet and analysis of deviations from Kepler’s laws
• Angular momentum conservation and Laplace’s nebular hypothesis
• Relation between symmetries and conservation laws: Emmy Noether’s theorem
• First estimates of atomic sizes
• Consequences of the indistinguishability of elementary particles of the same kind
• Applications of quantum mechanics to many-particle systems
• Dirac’s prediction of anti-matter
• The anthropic principle and other controversial issues on the frontiers of research
Natural causes.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
Natural causes.
Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.
Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:
I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.
The Loeb Classical Library® edition of Aristotle is in twenty-three volumes.
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