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The Holocaust did not introduce the phenomenon of the bystander, but it did illustrate the terrible consequences of indifference and passivity towards the persecution of others. Although the term was initially applied only to the good Germans―the apathetic citizens who made genocide possible through unquestioning obedience to evil leaders―recent Holocaust scholarship has shown that it applies to most of the world, including parts of the population in Nazi-occupied countries, some sectors within the international Christian and Jewish communities, and the Allied governments themselves. This work analyzes why this happened, drawing on the insights of historians, Holocaust survivors, and Christian and Jewish ethicists. The author argues that bystander behavior cannot be attributed to a single cause, such as anti-Semitism, but can only be understood within a complex framework of factors that shape human behavior individually, socially, and politically.

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This landmark book chronicles the development of a kind of photography that is created out of the energy and chance juxtapositions found in everyday life on the street. Street photography is at the heart of what makes photography unique.An unprecedented study that is the first history of this tradition ever published, Bystander explores street photography through a discussion of the medium's masters - Atget, Stieglitz, Strand, Cartier-Bresson, Brassai, Kertesz, Evans, Levitt, Frank, Arbus, Winogrand, and many others - and reveals along the way much about the craft and creative process of photography. Profusely illustrated with the work of more than eighty photographers, the book is composed of four parts separated by lively folios of pictures. Each part discusses a different era - from the early days of the medium in nineteenth-century Europe, to America in the late twentieth century - and devotes entire chapters to the key figures of that period.

Street photography is spontaneous, a moment captured by the camera. "Bystander" chronicles the development of a photographic genre created from the chaotic energy and chance juxtapositions of everyday street life. The setting might be a crowded city pavement, a country lane, a park, an underground station or cinema lobby - any public place where the photographer's subjects are privately engaged, either unknown to the photographer or unaware of his or her presence. Among the practitioners of street photography have been both anonymous amateurs and some of the most renowned photographers in the history of the medium - Atget, Cartier-Bresson, Brassai, Kertesz, Lartigue, Walker Evans, Ben Shahn, Alfred Stieglitz, Lisette Model, Gilles Peress, Robert Frank and Joel Meyerowitz. This book looks at the common ground of these photographers since 1839 - and in the process reveals much about the development of the photographic craft and its creative outlook. Profusely illustrated with examples from public and private collections in the United States and Europe, the book is organized into four parts: Atget and the 19th Century; Cartier-Bresson and Europe in the 20th Century; Walker Evans and pre-war America; Robert Frank and post-war America. Colin Westerbeck is associate curator of photography at The Art Institute of Chicago and writes extensively on photography. Joel Meyerowitz, now best known for his large-format colour photography, began his career as a street photographer.

In this book, the authors explore and discuss the development of one of the most interesting and dynamic of photographic genres. Hailed as a landmark work when it was first published in 1994, Bystander is widely regarded by street photographers as the "bible" of street photography. It covers an incredible array of talent, from the unknowns of the late 19th century to the acknowledged masters of the 20th, such as Atget, Stieglitz, Strand, Cartier-Bresson, Brassai, Kertesz, Frank, Arbus, Winogrand, and Levitt to name just a few. In this new and fully revised edition, the story of street photography is brought up to date with a re-evaluation of some historical material, the inclusion of more contemporary photographers, and a discussion of the ongoing rise of digital photography.

In the summer of 1963, in the wake of the Birmingham riots and hundreds of other protests across the country, John F. Kennedy advanced the most far-reaching civil rights bill ever put before Congress. Why had he waited so long? Kennedy had been acutely aware of the issue of race--both its political perils and opportunities--since his first Congressional campaign in Boston in 1946. In this, the first comprehensive history of Kennedy's civil rights record over the course of his entire political career, Nick Bryant shows that Kennedy's shrewd handling of the race issue in his early congressional campaigns blinded him as President to the intractability of the simmering racial crisis in America. By focusing on purely symbolic gestures, Kennedy missed crucial opportunities to confront the obstructionist Southern bloc and to enact genuine reform. Kennedy's inertia emboldened white supremacists, and forced discouraged black activists to adopt increasingly militant tactics. At the outset of his presidency, Kennedy squandered the chance to forge a national consensus on race. For many of his thousand days in office, he remained a bystander as the civil rights battle flared in the streets of America. In the final months of his life, Kennedy could no longer control the rage he had fueled with his erratic handling of this explosive issue.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.99

This landmark book chronicles the development of a kind of photography that is created out of the energy and chance juxtapositions found in everyday life on the street. Street photography is at the heart of what makes photography unique.An unprecedented study that is the first history of this tradition ever published, Bystander explores street photography through a discussion of the medium's masters - Atget, Stieglitz, Strand, Cartier-Bresson, Brassai, Kertesz, Evans, Levitt, Frank, Arbus, Winogrand, and many others - and reveals along the way much about the craft and creative process of photography. Profusely illustrated with the work of more than eighty photographers, the book is composed of four parts separated by lively folios of pictures. Each part discusses a different era - from the early days of the medium in nineteenth-century Europe, to America in the late twentieth century - and devotes entire chapters to the key figures of that period.

A fascinating celebration of street photography features works by such renowned masters as Atget, Stieglitz, Cartier-Bresson, and Robert Frank, as well as unknown photgraphers, and is filled with detailed text that chronicles the history of this energetic movement. Reprint. 10,000 first printing.

A fascinating celebration of street photography features works by such renowned masters as Atget, Stieglitz, Cartier-Bresson, and Robert Frank, as well as unknown photgraphers, and is filled with detailed text that chronicles the history of this energetic movement. Reprint. 10,000 first printing.

The Holocaust did not introduce the phenomenon of the bystander, but it did illustrate the terrible consequences of indifference and passivity towards the persecution of others. Although the term was initially applied only to the good Germans―the apathetic citizens who made genocide possible through unquestioning obedience to evil leaders―recent Holocaust scholarship has shown that it applies to most of the world, including parts of the population in Nazi-occupied countries, some sectors within the international Christian and Jewish communities, and the Allied governments themselves. This work analyzes why this happened, drawing on the insights of historians, Holocaust survivors, and Christian and Jewish ethicists. The author argues that bystander behavior cannot be attributed to a single cause, such as anti-Semitism, but can only be understood within a complex framework of factors that shape human behavior individually, socially, and politically.

Street photography is spontaneous, a moment captured by the camera. "Bystander" chronicles the development of a photographic genre created from the chaotic energy and chance juxtapositions of everyday street life. The setting might be a crowded city pavement, a country lane, a park, an underground station or cinema lobby - any public place where the photographer's subjects are privately engaged, either unknown to the photographer or unaware of his or her presence. Among the practitioners of street photography have been both anonymous amateurs and some of the most renowned photographers in the history of the medium - Atget, Cartier-Bresson, Brassai, Kertesz, Lartigue, Walker Evans, Ben Shahn, Alfred Stieglitz, Lisette Model, Gilles Peress, Robert Frank and Joel Meyerowitz. This book looks at the common ground of these photographers since 1839 - and in the process reveals much about the development of the photographic craft and its creative outlook. Profusely illustrated with examples from public and private collections in the United States and Europe, the book is organized into four parts: Atget and the 19th Century; Cartier-Bresson and Europe in the 20th Century; Walker Evans and pre-war America; Robert Frank and post-war America. Colin Westerbeck is associate curator of photography at The Art Institute of Chicago and writes extensively on photography. Joel Meyerowitz, now best known for his large-format colour photography, began his career as a street photographer.

In this book, the authors explore and discuss the development of one of the most interesting and dynamic of photographic genres. Hailed as a landmark work when it was first published in 1994, Bystander is widely regarded by street photographers as the "bible" of street photography. It covers an incredible array of talent, from the unknowns of the late 19th century to the acknowledged masters of the 20th, such as Atget, Stieglitz, Strand, Cartier-Bresson, Brassai, Kertesz, Frank, Arbus, Winogrand, and Levitt to name just a few. In this new and fully revised edition, the story of street photography is brought up to date with a re-evaluation of some historical material, the inclusion of more contemporary photographers, and a discussion of the ongoing rise of digital photography.

The author 'wriites with wit and spirit about the people in his life..some great like Sigmund Freud, some well-known like Henry Luce, or Bucky Fuller when they were still only voices cryng in the wilderness'. This book 'reflects the author's vitality, curiousity and interest in people, ideas and the forces behind them'.

Issue #2 of the all-star print humor quarterly in trade paperback format! This one has stuff from writers from The Simpsons, The New Yorker, SNL, The Onion, SPY and National Lampoon, as well as illustrations and cartoons from Kate Beaton, Roz Chast, Shary Flenniken, Charles Barsotti, Jack Ziegler, M.K. Brown and 60 others. Full-color, large format (8.5x11) and 126 pages, The American Bystander #2 is a must-have for comedy fans.

Peter Drucker’s lively and thoughtful memoirs are now available in paperback with a new introduction by the author. He writes with wit and spirit about people he has encountered in a long and varied life, including Sigmund Freud, Henry Luce, Alfred Sloan, John L. Lewis, and Marshall McLuhan. After beginning with his childhood in Vienna during and after World War I, Drucker moves on to Europe in the 1920s and early 1930s, describing the imminent doom posed by Hitler and the Nazis. He then goes on to describe London during the 1930s, America during the New Deal era, the World War II years, and beyond. According to John Brooks of The New York Times Book Review, “Peter Drucker is at a corner cafe, delightfully regaling anyone who will listen with tales of what must be one of the more varied—and for a practitioner of such a narrow skill as that of management counseling, astonishing—of contemporary professional lives.” Dorothy Rabinowitz of the Washington Post writes, “The famous are here as well as the infamous.... All are the beneficiaries, for better or for worse, of Drucker’s unerring eye for psychological detail, his remorseless curiosity, and his imaginative sympathy.... Drucker’s book appears in a stroke to have restored the art of the memoir and of the essay.” Adventures of a Bystander reflects Drucker’s vitality, infinite curiosity, and interest in people, ideas, and the forces behind them. His book is a personal and informal account of the rich life of an independent man of letters, a life that spans eight decades and two continents. It will be of interest to scholars and professionals in the business world, historians, sociologists, and admirers of Peter Drucker.

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A narrative of the Nazis' destruction of European Jewry in the twentieth century discusses the victims, the killers, and those who saw but did nothing. By the author of The Destruction of the European Jews. 35,000 first printing. $35,000 ad/promo. Tour.

We were not prepared for #metoo when it blew up Twitter in October 2017. In many ways, we still aren't. What do we do when we learn a friend has been harmed? And what does it mean to be a good friend when someone we love caused the harm? We live in a society that confines survivors to silence. Our only avenues to address harm do little to prevent its recurrence. Trapped within a binary of silence or punishment, it's no wonder so many of us remain paralyzed even as the disclosures continue. Punishment requires both certainty and authority, which most bystanders lack. But once the silence has been broken, we can't return to it. Few of us are strangers to the nagging feeling that arises within that paralysis. We intuit—correctly—that we have some kind of responsibility when harm happens in our communities, but what is it? And if we have responsibility, do we have rights? Combining behavioral neuroscience and insights from those on the frontlines of harm intervention, Disrupting the Bystander helps us break out of paralysis so that we can best support those we love—whether they were hurt or hurt someone else.