Hartley describes how modern theory from Kant through Lacan attempts to come to terms with the sublime limits of representation and how ideas developed with the Marxist tradition—such as Marx’s theory of value, Althusser’s theory of structural causality, or Zizek’s theory of ideological enjoyment—can be seen as variants of the sublime object. Representation, he argues, is ultimately a political problem. Whether that problem be a Marxist representation of global capitalism, a deconstructive representation of subaltern women, or a Chicano self-representation opposing Anglo-American images of Mexican Americans, it is only through this grappling with the negative, Hartley explains, that a Marxist theory of postmodernism can begin to address the challenges of global capitalism and resurgent imperialism.
On dry land, most organisms are confined to the surface, or at most to altitudes of a hundred meters—the height of the tallest trees. In the oceans, though, living space has both vertical and horizontal dimensions: with an average depth of 3800 meters, the oceans offer 99% of the space on Earth where life can develop. And the deep sea, which has been immersed in total darkness since the dawn of time, occupies 85% of ocean space, forming the planet’s largest habitat. Yet these depths abound with mystery. The deep sea is mostly uncharted—only about 5 percent of the seafloor has been mapped with any reasonable degree of detail—and we know very little about the creatures that call it home. Current estimates about the number of species yet to be found vary between ten and thirty million. The deep sea no longer has anything to prove; it is without doubt Earth’s largest reservoir of life.
Combining the latest scientific discoveries with astonishing color imagery, The Deep takes readers on a voyage into the darkest realms of the ocean. Revealing nature’s oddest and most mesmerizing creatures in crystalline detail, The Deep features more than two hundred color photographs of terrifying sea monsters, living fossils, and ethereal bioluminescent creatures, some photographed here for the very first time. Accompanying these breathtaking photographs are contributions from some of the world’s most respected researchers that examine the biology of deep-sea organisms, the ecology of deep-sea habitats, and the history of deep-sea exploration.
An unforgettable visual and scientific tour of the teeming abyss, The Deep celebrates the incredible diversity of life on Earth and will captivate anyone intrigued by the unseen—and unimaginable—creatures of the deep sea.
Mark Wayne Nelson details the efforts of one of America’s most underappreciated public servants. In 1934, Franklin D. Roosevelt invited Marriner S. Eccles, a Mormon from Utah, to join his administration. As a Republican businessman, Eccles seemed an unlikely candidate for the role of leading crusader for a fairer and more economically sound distribution of the nation’s wealth. From his first position in the Treasury Department, though, he emerged as the central mover in revolutionizing the mortgage structure of the private home market in the United States.
After FDR appointed him to head the Federal Reserve, Eccles drafted legislation that restructured that institution as well. Throughout the remainder of the New Deal, he was the most powerful advocate of what came to be called “Keynesian Policy,” which involved direct federal stimulus of the economy. Presenting the first comprehensive and independent analysis of Eccles’s influential career, Jumping the Abyss wrestles with economic issues that remain relevant today.
Finalist for the Utah State Historical Society Best Book Award.
Theater is, first and foremost, a visual art; Looking Into the Abyss examines the ways in which the visual theater affects our understanding of the dramatic event. Arnold Aronson, an internationally prominent historian and theorist of theater set design, opens with an overview of scenographic concepts, including postmodern design and the use of new media in the theater, and continues with analyses of the work of specific designers (including Richard Foreman and David Rockwell) and scenographic responses to playwrights like Chekhov and Tony Kushner. These essays serve to open a dialogue that will bring the physical aspect of theater back into its proper place: an element as integral to the performance as the spoken word, and they will inspire theater-goers to become more aware of their role as seers of the theater.
Arnold Aronson is Professor of Theater, Columbia University. He is author of American Avant-Garde Theatre: A History; Architect of Dreams: The Theatrical Vision of Joseph Urban; American Set Design; and The History and Theory of Environmental Scenography.
The deep oceans are the last great frontier remaining on Earth. Humans have conquered the vast wilderness of the terrestrial surface, from the searing deserts and dark forests of the tropics to the icy polar regions. Today, anyone with enough ambition and money can travel upriver into the heart of the Borneo jungle, climb Mount Everest, or spend the night at the South Pole. But the oceans beyond the continental shelves remain forbidding, beyond the reach of science, adventurism, and commerce.
Not long ago, scientists viewed the ocean floor as a vast, featureless plain, an ancient repository of detritus eroded from the surface of an unchanging Earth. Light never reached the seemingly lifeless depths. The ocean basins were only of marginal scholarly interest. This all changed with the Herculean quest to discover what lay on the world's ocean floor—a quest that inspired the continental drift-plate tectonics revolution and overturned prevailing scientific notions of how the Earth’s surface was created, rearranged, and destroyed.
Upheaval from the Abyss spans a 130-year period, beginning with the early, backbreaking efforts to map the depths during the age of sail; continuing with improvements in research methods spurred by maritime disaster and war; and culminating in the publication of the first map of the world’s ocean floor in 1977. The author brings this tale to life by weaving through it the personalities of the scientists-explorers who struggled to see the face of the deep, and reveals not only the facts of how the ocean floor was mapped, but also the human dimensions of what the scientists experienced and felt while in the process.
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