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The compulsion to dwell on history―on how it is recorded, stored, saved, forgotten, narrated, lost, remembered, and made public―has been at the heart of artists’ engagement with the photographic medium since the late 1960s. Uncertain Histories considers some of that work, ranging from installations that incorporate vast numbers of personal and vernacular photographs by Christian Boltanski, Dinh Q. Lê, and Gerhard Richter to confrontations with absence in the work of Joel Sternfeld and Ken Gonzales-Day. Projects such as these revolve around a photographic paradox that hinges equally on knowing and not knowing, on definitive proof coupled with uncertainty, on abundance of imagery being met squarely with its own inadequacy. Photography is seen as a fundamentally ambiguous medium that can be evocative of the historical past while at the same time limited in the stories it can convey. Rather than proclaiming definitively what photography is, the work discussed here posits photographs as objects always held in suspension, perpetually oscillating in their ability to tell history. Yet this ultimately leads to a new kind of knowledge production: uncertainty is not a dead end but a generative space for the viewer’s engagement with the construction of history.

The compulsion to dwell on history―on how it is recorded, stored, saved, forgotten, narrated, lost, remembered, and made public―has been at the heart of artists’ engagement with the photographic medium since the late 1960s. Uncertain Histories considers some of that work, ranging from installations that incorporate vast numbers of personal and vernacular photographs by Christian Boltanski, Dinh Q. Lê, and Gerhard Richter to confrontations with absence in the work of Joel Sternfeld and Ken Gonzales-Day. Projects such as these revolve around a photographic paradox that hinges equally on knowing and not knowing, on definitive proof coupled with uncertainty, on abundance of imagery being met squarely with its own inadequacy. Photography is seen as a fundamentally ambiguous medium that can be evocative of the historical past while at the same time limited in the stories it can convey. Rather than proclaiming definitively what photography is, the work discussed here posits photographs as objects always held in suspension, perpetually oscillating in their ability to tell history. Yet this ultimately leads to a new kind of knowledge production: uncertainty is not a dead end but a generative space for the viewer’s engagement with the construction of history.

This followup to Ian C. Esslemont's Blood and Bone is sure to delight Malazan fans.Tens of thousands of years of ice is melting, and the land of Assail, long a byword for menace and inaccessibility, is at last yielding its secrets. Tales of gold discovered in the region's north circulate in every waterfront dive and sailor's tavern, and now countless adventurers and fortune-seekers have set sail in search of riches. All these adventurers have to guide them are legends and garbled tales of the dangers that lie in wait -- hostile coasts, fields of ice, impassable barriers and strange, terrifying creatures. But all accounts concur that the people of the north meet all trespassers with the sword. And beyond are rumoured to lurk Elder monsters out of history's very beginnings. Into this turmoil ventures the mercenary company, the Crimson Guard. Not drawn by contract, but by the promise of answers: answers to mysteries that Shimmer, second in command, wonders should even be sought. Arriving also, part of an uneasy alliance of Malazan fortune-hunters and Letherii soldiery, comes the bard Fisher kel Tath. And with him is a Tiste Andii who was found washed ashore and cannot remember his past life, yet who commands far more power than he really should. Also venturing north is said to be a mighty champion, a man who once fought for the Malazans, the bearer of a sword that slays gods: Whiteblade. And lastly, far to the south, a woman guards the shore awaiting both her allies and her enemies. Silverfox, newly incarnated Summoner of the undying army of the T'lan Imass, will do anything to stop the renewal of an ages-old crusade that could lay waste to the entire continent and beyond. Casting light on mysteries spanning the Malazan empire, and offering a glimpse of the storied and epic history that shaped it, "Assail" is the final chapter in the epic story of the Empire of Malaz.

Many interested reader will have put aside a work by Edith Stein due to its seeming inaccessibility, with the awareness that there was something important there for a future occasion. This collection of essays attempts to provide an idea of what this important something might be and give a key to the reading of Stein’s various works. It is divided into two parts reflecting Stein’s development. The first part, «Phenomenology», deals with those features of Stein’s work that set it apart from that of other phenomenologists, notably Husserl. The second part is entitled «Metaphysics», although Stein the phenomenologist would, like Husserl, initially have shied away from this designation. However, as Stein gradually understood the importance of the Christian faith for completing the phenomenological project of founding the sciences, and accepted it as indispensable for a philosophical view of the whole, her «attempt at an ascent to the meaning of being» can legitimately be called metaphysics, even as it also constitutes a fundamental criticism of Aristotle and Aquinas.

Have you ever found art museums intimidating and art history a baffling mix of periods, names, and styles? Annie Labatt’s Art History 101 aims to remove this inaccessibility issue in the art world by breaking the history of art down into twenty accessible lessons, each built around a single, canonical piece considered a masterpiece from its era.Beginning with prehistoric cave drawings and Greek statues; continuing through the Gothic, Byzantine, Baroque, and the Renaissance movements; and concluding with the Impressionist work of Monet and Picasso, Labatt asks us to consider each work and think about the artist who created it and what they wanted us to see. She frames our understanding of the historical and social context of the piece as well as the background of the artist and, in many cases, the patron who commissioned it.Each period and its discussion stands alone and lends itself to be read individually and in no particular order. From the tiniest of details to the broadest cultural implications and meanings, Art History 101 helps us see why these works of art are considered masterpieces. In completing the full course, one sees how each piece contributes to a larger portrait--the full narrative of art history through the ages.

The remote Colorado Plateau and Great Basin portions of the Intermountain West are areas of spectacular natural beauty and diversity. Due to inaccessibility, however, scientific study of many aspects of the region's natural history has lagged.Natural History of the Colorado Plateau and Great Basin provides an up-to-date summary of the region's geology, climates, and biology, including thorough treatments of the area's insects, fish, and reptiles. Also discussed are the ecology and distribution of prehistoric human cultures in the region; how modern humans have used (and abused) resources in the Intermountain West; and the impact of post-Pleistocene environmental changes on genetics of disjunct populations of conifer trees.Written by a diverse group of acknowledged experts, Natural History of the Colorado Plateau and Great Basin offers invaluable background information for all students and resource managers who want to work in or visit the Intermountain West.

This is the first ever standalone travel guide to the world’s newest country. South Sudan has emerged from decades of inaccessibility as a vibrant and diverse destination. One of the world’s largest wetlands, tropical forests and the second-largest wildlife migration on earth draw nature lovers in pursuit of experiences far from the madding crowd, while tribal peoples such as the Dinka, Bari and Zande preserve unique cultures thousands of years in the making. With detailed maps and extensive coverage of security issues, the guide includes coverage of disputed and unstable areas for the benefit of aid workers and business travelers.

The enthralling new epic novel of the Malazan Empire by the bestselling author of Return of the Crimson Guard.   Tens of thousands of years of ice is melting, and the land of Assail, long a byword for menace and inaccessibility, is at last yielding its secrets. Tales of gold discovered in the region's north circulate in every waterfront dive and sailor's tavern and now countless adventurers and fortune-seekers have set sail in search of riches. All these adveturers have to guide them are legends and garbled tales of the dangers that lie in wait -- hostile coasts, fields of ice, impassable barriers and strange, terrifying creatures. But all accounts concur that the people of the north meet all trespassers with the sword. And beyond are rumoured to lurk Elder monsters out of history's very beginnings. Into this turmoil ventures the mercenary company, the Crimson Guard. Not drawn by contract, but by the promise of answers: answers to mysteries that Shimmer, second in command, wonders should even be sought. Arriving also, part of an uneasy alliance of Malazan fortune-hunters and Letherii soldiery, comes the bard Fisher kel Tath. And with him is a Tiste Andii who was found washed ashore and who cannot remember his past life, yet who commands far more power than he really should. Also venturing north is said to be a mighty champion, a man who once fought for the Malazans, the bearer of a sword that slays gods: Whiteblade.And lastly, far to the south, a woman guards the shore awaiting both her allies and her enemies. Silverfox, newly incarnated Summoner of the undying army of the T'lan Imass, will do anything to stop the renewal of an ages-old crusade that could lay waste to the entire continent and beyond. Casting light on mysteries spanning the Malazan empire, and offering a glimpse of the storied and epic history that shaped it, Assail is the final chapter in the epic story of the Empire of Malaz.

A Palestinian born in Kuwait and based in the UAE, much of Tarek Al-Ghoussein's work deals with how his identity is shaped in a context of inaccessibility and loss. In many of his photographs the artist is dwarfed by a vast desert landscape, reconstructing allegories for the obstacles, barricades and walls erected in the Occupied Territories. The book includes foreword by Jack Persekian (artistic director of the Sharjah Biennale) as well as several commissioned essays by several key writers: Hamid Dabashi (writer and chair at Columbia University), Emily Jacir (fellow artist), Suzanne Cotter (Senior Curator at Modern Art Oxford), Antonia Carver (critic, writer and coeditor of Bidoun) and Kevin Mitchell (architect). Published by PageOne on behalf of Works on Paper by The Third Line, this hard-cover book has 150 pages and over 60 full cover plates. In Absentia was launched during Al-Ghoussein s exhibition at The Third Line in February 2009. In Absentia in Arabic is being published with the support of the Arab Fund for Arts and Culture. In English and Arabic.

This followup to Ian C. Esslemont's Blood and Bone is sure to delight Malazan fans.Tens of thousands of years of ice is melting, and the land of Assail, long a byword for menace and inaccessibility, is at last yielding its secrets. Tales of gold discovered in the region's north circulate in every waterfront dive and sailor's tavern, and now countless adventurers and fortune-seekers have set sail in search of riches. All these adventurers have to guide them are legends and garbled tales of the dangers that lie in wait -- hostile coasts, fields of ice, impassable barriers and strange, terrifying creatures. But all accounts concur that the people of the north meet all trespassers with the sword. And beyond are rumoured to lurk Elder monsters out of history's very beginnings. Into this turmoil ventures the mercenary company, the Crimson Guard. Not drawn by contract, but by the promise of answers: answers to mysteries that Shimmer, second in command, wonders should even be sought. Arriving also, part of an uneasy alliance of Malazan fortune-hunters and Letherii soldiery, comes the bard Fisher kel Tath. And with him is a Tiste Andii who was found washed ashore and cannot remember his past life, yet who commands far more power than he really should. Also venturing north is said to be a mighty champion, a man who once fought for the Malazans, the bearer of a sword that slays gods: Whiteblade. And lastly, far to the south, a woman guards the shore awaiting both her allies and her enemies. Silverfox, newly incarnated Summoner of the undying army of the T'lan Imass, will do anything to stop the renewal of an ages-old crusade that could lay waste to the entire continent and beyond. Casting light on mysteries spanning the Malazan empire, and offering a glimpse of the storied and epic history that shaped it, "Assail" is the final chapter in the epic story of the Empire of Malaz.

"The library is situated," said the short entry in the Guide to British Libraries A-L, "in pleasant rolling countryside not too far from Hereford, and is perhaps most readily accessible by private motor vehicle." This statement was quite accurate. Inaccessibility had always been one of the Library's most prized qualities. "The Last Resort Library was founded in 1962, and is a forward-looking institution with very much its own sense of mission," it continued. The truth was that the Guide compiler had never heard of the Library himself, but someone had mentioned it to him right at the last minute, and he was improvising while correcting proofs. "Researchers should be aware that, despite the size of the Library's holdings, there is no published catalogue of any kind." That's what he had been told, and it seemed only sensible to make a formal note of it. - Prologue

Many interested reader will have put aside a work by Edith Stein due to its seeming inaccessibility, with the awareness that there was something important there for a future occasion. This collection of essays attempts to provide an idea of what this important something might be and give a key to the reading of Stein’s various works. It is divided into two parts reflecting Stein’s development. The first part, «Phenomenology», deals with those features of Stein’s work that set it apart from that of other phenomenologists, notably Husserl. The second part is entitled «Metaphysics», although Stein the phenomenologist would, like Husserl, initially have shied away from this designation. However, as Stein gradually understood the importance of the Christian faith for completing the phenomenological project of founding the sciences, and accepted it as indispensable for a philosophical view of the whole, her «attempt at an ascent to the meaning of being» can legitimately be called metaphysics, even as it also constitutes a fundamental criticism of Aristotle and Aquinas.

The multiplicity of the self and the inaccessibility of truth are commonplaces of contemporary thought. But in Seeing Things Hidden they become key features of a philosophy of history that reunites emancipatory political theory with the apocalyptic tradition.Apocalyptic is the revelation of things hidden. But what does it mean to be hidden? And why are things hidden in the first place? By gently teasing out the meanings of hiddenness, this book develops a new theory of apocalyptic and explores its relation to the writings of Kant, Hegel, Benjamin and Derrida.Exploiting affinities between the work of Lukács and recent American philosophers like Rorty and Cavell, Bull argues that the central dynamic of late modernity is the coming into hiding of the contradictory identities generated through political and social emancipation. Drawing on analytic and Continental philosophy he articulates the most ambitious philosophy of history since Francis Fukuyama’s The End of History, presenting fresh interpretations of such icons of modernity as Hegel’s master-slave dialectic, Benjamin’s angel of history, Du Bois’s concept of double consciousness, and Rawls’s veil of ignorance.

Wallace Stevens is not only one of the most important twentieth-century American poets but also one of the most difficult to teach. The inaccessibility of his work, even for practiced readers, is legendary among teachers and students alike, who have struggled for decades with his work's resistance to conventional teaching methods. Moreover, the solutions to Stevens's difficulty to be found in fifty years of accumulated commentary are not always enough in the classroom.In an attempt to address the specific problems of presenting Stevens to students, John N. Serio and B. J. Leggett have brought together twenty-four original essays, by an impressive array of Stevens scholars, to explore a variety of approaches. The complexity of his poetry, its shifting theoretical perspectives, and various other obstacles constitute the major themes of these essays as they deal with strategies, comparative approaches, prosody, rhetoric, diction, and larger contexts such as modernism, postmodernism, and contemporary theory.These essays offer practical, down-to-earth knowledge about Stevens's poetry; specific, time-tested techniques for successfully introducing students to Stevens; and an extensive introductory guide to primary and secondary sources. Besides examining the challenges of teaching Stevens, this volume demonstrates what Stevens can teach us about the kind of reading that goes on in the classroom.

There are several reasons for this book: · The physical inaccessibility of the law: many of the reports are only to be found in the medieval Year Books, in the'English Reports' and in unreported cases · The linguistic inaccessibility of the older reports · The obscurity of older English court procedures; · The complexity of English enforcement law. Until reformed bailiffs' law will remain multifarious governed by dozens of statutes and regulations and thousands of cases. Were that not enough, the law is further complicated by its division into execution, common law distress and statutory distraint. This tripartite classification has practical consequences: · There are differences in the personnel involved: civil court bailiffs, landowners and public bodies; · Differences in specific powers; and, · Differences in remedies for creditors and debtors. As important as the differences listed are, they can work as much to conceal similarities of procedure as to alert us to unique features. This book contains a chapter of statutes and then chapters dealing successively with the key stages of the enforcement process. Each source (statute or case report) is supplemented with a commentary discussing its significance and linking it with other sources quoted here or to other applications of the principles brought out.

Have you ever found art museums intimidating and art history a baffling mix of periods, names, and styles? Annie Labatt’s Art History 101 aims to remove this inaccessibility issue in the art world by breaking the history of art down into twenty accessible lessons, each built around a single, canonical piece considered a masterpiece from its era.Beginning with prehistoric cave drawings and Greek statues; continuing through the Gothic, Byzantine, Baroque, and the Renaissance movements; and concluding with the Impressionist work of Monet and Picasso, Labatt asks us to consider each work and think about the artist who created it and what they wanted us to see. She frames our understanding of the historical and social context of the piece as well as the background of the artist and, in many cases, the patron who commissioned it.Each period and its discussion stands alone and lends itself to be read individually and in no particular order. From the tiniest of details to the broadest cultural implications and meanings, Art History 101 helps us see why these works of art are considered masterpieces. In completing the full course, one sees how each piece contributes to a larger portrait--the full narrative of art history through the ages.

This follow-up to Ian C. Esslemont's Blood and Bone is sure to delight Malazan fans.Tens of thousands of years of ice is melting, and the land of Assail, long a byword for menace and inaccessibility, is at last yielding its secrets. Tales of gold discovered in the region's north circulate in every waterfront dive and sailor's tavern and now countless adventurers and fortune-seekers have set sail in search of riches. All these adventures have to guide them are legends and garbled tales of the dangers that lie in wait -- hostile coasts, fields of ice, impassable barriers and strange, terrifying creatures. But all accounts concur that the people of the north meet all trespassers with the sword. And beyond are rumored to lurk Elder monsters out of history's very beginnings. Into this turmoil ventures the mercenary company, the Crimson Guard. Not drawn by contract, but by the promise of answers: answers to mysteries that Shimmer, second in command, wonders should even be sought. Arriving also, part of an uneasy alliance of Malazan fortune-hunters and Letherii soldiery, comes the bard Fisher kel Tath. And with him is a Tiste Andii who was found washed ashore and who cannot remember his past life, yet who commands far more power than he really should. Also venturing north is said to be a mighty champion, a man who once fought for the Malazans, the bearer of a sword that slays gods: Whiteblade. And lastly, far to the south, a woman guards the shore awaiting both her allies and her enemies. Silverfox, newly incarnated Summoner of the undying army of the T'lan Imass, will do anything to stop the renewal of an ages-old crusade that could lay waste to the entire continent and beyond. Casting light on mysteries spanning the Malazan Empire, and offering a glimpse of the storied and epic history that shaped it, "Assail" is the final chapter in the epic story of the Empire of Malaz.