Benjamins Library

In Benjamin’s Library, Jane O. Newman offers, for the first time in any language, a reading of Walter Benjamin’s notoriously opaque work, Origin of the German Tragic Drama that systematically attends to its place in discussions of the Baroque in Benjamin’s day. Taking into account the literary and cultural contexts of Benjamin’s work, Newman recovers Benjamin’s relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years. To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. Armed with extraordinary historical, bibliographical, philological, and orthographic research, Newman shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, she challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies. The result is a deeply learned book that will infuse much-needed life into the study of one of the most influential thinkers of the twentieth century.

A hamster's efforts to remove his paw print from a blank page of a book prove unsuccessful.

"I fully realize that my discussion of the mental climate of collecting will confirm many of you in your conviction that this passion is behind the times, in your distrust of the collector type. Nothing is further from my mind than to shake either your conviction or your distrust." Walter Benjamin was one of the great cultural critics of the twentieth century. In Unpacking My Library he offers a strikingly personal meditation on his career as a book collector and on the strange relations that spring up between objects and their owners. Witty, erudite and often moving, this book will resonate with bibliophiles of all kinds. Eris Gems make available in the form of beautifully produced saddle-stitched booklets a series of outstanding short works of fiction and non-fiction.

In Benjamin’s Library, Jane O. Newman offers, for the first time in any language, a reading of Walter Benjamin’s notoriously opaque work, Origin of the German Tragic Drama that systematically attends to its place in discussions of the Baroque in Benjamin’s day. Taking into account the literary and cultural contexts of Benjamin’s work, Newman recovers Benjamin’s relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years. To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. Armed with extraordinary historical, bibliographical, philological, and orthographic research, Newman shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, she challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies. The result is a deeply learned book that will infuse much-needed life into the study of one of the most influential thinkers of the twentieth century.

A philosopher finds himself at risk when his country begins punishing people for being different, a circumstance that forces him to escape over hills and valleys while carrying a mysterious, heavy suitcase.

“There is no world of thought that is not a world of language,” Walter Benjamin remarked, “and one only sees in the world what is preconditioned by language.” In this book, Samuel Weber, a leading theorist on literature and media, reveals a new and productive aspect of Benjamin’s thought by focusing on a little-discussed stylistic trait in his formulation of concepts. Weber’s focus is the critical suffix “-ability” that Benjamin so tellingly deploys in his work. The “-ability” (-barkeit, in German) of concepts and literary forms traverses the whole of Benjamin’s oeuvre, from “impartibility” and “criticizability” through the well-known formulations of “citability,” “translatability,” and, most famously, the “reproducibility” of “The Work of Art in the Age of Its Technological Reproducibility.” Nouns formed with this suffix, Weber points out, refer to a possibility or potentiality, to a capacity rather than an existing reality. This insight allows for a consistent and enlightening reading of Benjamin’s writings. Weber first situates Benjamin’s engagement with the “-ability” of various concepts in the context of his entire corpus and in relation to the philosophical tradition, from Kant to Derrida. Subsequent chapters deepen the implications of the use of this suffix in a wide variety of contexts, including Benjamin’s Trauerspiel book, his relation to Carl Schmitt, and a reading of Wagner’s Ring. The result is an illuminating perspective on Benjamin’s thought by way of his language—and one of the most penetrating and comprehensive accounts of Benjamin’s work ever written.

This volume on Transfiction (understood as an aestheticized imagination of translatorial action) recognizes the power of fiction as a vital and pulsating academic resource, and in doing so helps expand the breadth and depth of TS. The book covers a selection of peer-reviewed papers from the 1st International Conference on Fictional Translators and Interpreters in Literature and Film (held at the University of Vienna, Austria in 2011) and links literary and cinematic works of translation fiction to state-of-the-art translation theory and practice. It presents not just a mixed bag of cutting-edge views and perspectives, but great care has been taken to turn it into a well-rounded transficcionario with a fluid dialogue among its 22 chapters. Its investigation of translatorial action in the mirror of fiction (i.e. beyond the cognitive barrier of ‘fact’) and its multiple transdisciplinary trajectories make for thought-provoking readings in TS, comparative literature, as well as foreign language and literature courses.

The Practice of Court Interpreting describes how the interpreter works in the court room and other legal settings. The book discusses what is involved in court interpreting: case preparation, ethics and procedure, the creation and avoidance of error, translation and legal documents, tape transcription and translation, testifying as an expert witness, and continuing education outside the classroom. The purpose of the book is to provide the interpreter with a map of the terrain and to suggest methods that will help insure an accurate result. The author, herself a practicing court interpreter, says: “The structure of the book follows the structure of the work as we do it.” The book is intended as a basic course book, as background reading for practicing court interpreters and for court officials who deal with interpreters.

Interpreters who work with signed languages and those who work strictly with spoken languages share many of the same issues regarding their training, skill sets, and fundamentals of practice. Yet interpreting into and from signed languages presents unique challenges for the interpreter, who works with language that must be seen rather than heard. The contributions in this volume focus on topics of interest to both students of signed language interpreting and practitioners working in community, conference, and education settings. Signed languages dealt with include American Sign Language, Langue des Signes Québécoise and Irish Sign Language, although interpreters internationally will find the discussion in each chapter relevant to their own language context. Topics concern theoretical and practical components of the interpreter’s work, including interpreters’ approaches to language and meaning, their role on the job and in the communities within which they work, dealing with language variation and consumer preferences, and Deaf interpreters as professionals in the field.

Are you looking for the perfect Easter picture book and a way to engage your children with the biblical story of Holy Week in a way they’ll remember? Learn about Jesus along with Benjamin as he follows Jesus through Jerusalem to find out who this man really is. When Jesus comes to Jerusalem, Benjamin first thinks he is a teacher, then a king. But as he follows Jesus throughout the week, filling his wooden box with special treasures along the way, he finally learns the REAL good news—Jesus is all about love. Benjamin’s Box: The Story of the Resurrection Eggs is: For ages 4–8 Beautifully illustrated, making this a book something to treasure Perfect for small group or individual reading experiences Ideal to use alongside Family Life’s Resurrection Eggs® or alone as a meaningful look at Jesus’ ministry and sacrifice Benjamin’s Box: The Story of the Resurrection Eggs brings the story of Jesus’ time in Jerusalem, his death, and resurrection to life for readers young and old.