This volume presents a selection of articles aimed at introducing the field of local knowledge to a local and international audience. Based upon the theme “Retracing Tradition for a Sustainable Future,” the articles detail local practices that reflect local wisdom in various domains of knowledge such as literature, architecture, water management, tourism, dance and drama. This collection of articles embodies an important, tangible initiative by Universiti Sains Malaysia Local Knowledge Secretariat to identify and retrace indigenous local knowledge, besides documenting and conserving local wisdom for future generations. It presents an important resource for researchers and students interested in exploring the under-researched area of local knowledge and indigenous science in the Malaysian context.

Written from a Continental perspective, Retracing the Platonic Text reveals dimensions of the dialogues that are not addressed by traditional philosophy. These essays by prominent scholars focus on the texts' literary elements, in particular challenges to contemporary interpretations of the Platonic dialogue as a whole. The result illustrates the depth of Platonic thought and the debt of all philosophy to it. Retracing the Platonic Text is a pioneering effort in demonstrating how Continental philosophy both reflects and expands upon Greek philosophy.

This book, the first of its kind for an English-language audience, introduces a fresh perspective on the Polish literary translation landscape, providing unique insights into the social, political, and ideological underpinnings of Polish translation history. Employing a problem-based approach, the book creates a map of different research directions in the history of literary translation in Poland, highlighting a holistic perspective on the discipline’s development in the region. The four sections explore topics of particular interest in current translation research, including translation and cultural borderlands, the agency of women translators, translators as intercultural mediators, and the intersection of translation research and digital methods. The 15 contributions demonstrate the ways in which Polish culture has represented translated work in its own way, informed and shaped by socio-political changes in Polish history. At the same time, the volume situates Polish research in translation within the growing body of work on Central and Eastern European translation studies, as well as looking at them against the backdrop of the international development of the discipline. This collection offers a valuable addition to existing research on Western literary canons, making it key reading for scholars in translation studies, comparative literature, cultural studies, and Slavonic studies.

Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler

"I like these songs better than all the rest, and someday you will too," Franz Schubert told the friends who were the first to hear his song cycle Winterreise. These lieder have always found admiring audiences, but the poetry he chose to set them to has been widely regarded as weak and trivial. Susan Youens looks not only at Schubert's music but at the poetry, drawn from the works of Wilhelm Müller, who once wrote in his diary, "perhaps there is a kindred spirit somewhere who will hear the tunes behind the words and give them back to me!" Youens maintains that Müller, in depicting the wanderings of the alienated lover, produced poetry that was simple but not simple-minded, poetry that embraced simplicity as part of its meaning. In her view, Müller used the ruder folk forms to give his verse greater immediacy, to convey more powerfully the wanderer's complex inner state. Youens addresses many different aspects of Winterreise: the cultural milieu to which it belonged, the genesis of both the poetry and the music, Schubert's transformation of poetic cycle into music, the philosophical dimension of the work, and its musical structure.

Across 3,000 miles and over eight decades, this epic new people’s history of the Cold War makes eye-opening sense of a defining 20th-century conflict—and how it continues to shape our world today. Initially a victory line where Allies met at the end of World War Two, the Iron Curtain quickly became the front of a new kind of war. It divided Europe from north to south for a staggering forty-five years. Crossing it in either direction was always a political act; in many cases, it was a crime to even talk about doing so. New generations have grown up since these borders came down, freed from the restrictions of the Cold War era. But what has the Iron Curtain left in its wake? Timothy Phillips travels its full 3,000-mile route—from inside the Arctic Circle to where Armenia meets Azerbaijan and Turkey—to craft this epic new people’s history of a defining 2oth-century conflict. Here, in the borderlands where a powerful clash of civilizations took form in concrete and barbed wire, he uncovers the remarkable stories of everyday people forever imprinted by life in the Curtain’s long shadow. Some look back on the era with nostalgia, even affection, while others despise it, unable to forgive the decades of hardship their families and nations endured. A director recalls the astonishing night his movie premiered in East Germany—November 9, 1989, the very night the Berlin Wall fell. And a railroad worker recounts the 1951 hijacking of a passenger train from Czechoslovakia that breached the Curtain, granting those aboard immediate asylum in the West. These narratives, by turns harrowing and heartening, paint a vivid portrait of the new Europe that emerged from the ruins. Phillips reveals the Iron Curtain’s profound impact on our world today—even as he punctures the fault lines we draw. Publisher’s note: This book was published in the UK under the title The Curtain and the Wall.

THIS BOOK OF CAREFULLY WRITTEN, HEARTFELT AND DEEPLY EMOTIONAL POETRY IS THE OUTPOURING OF GRIEF THE AUTHOR HAS FELT SINCE THE LOSS OF HER BELOVED MOTHER. THE POEMS ARE PROFOUNDLY RELATABLE AND WILL NOT ONLY RESONATE WITH THE READER BUT WILL ALSO HELP TO SOOTHE THE PAIN OF LOSS. MELONIE HAS CRIED AN ABUNDANCE OF TEARS AND THROUGH THE TEARS SHE HAS FOUND RELEASE. RETRACING MY TEARS TO RELEASE MY FEARS IS WRITTEN WITH THE HOPE THAT YOU TOO WILL FIND A RELEASE THROUGH READING THE AUTHOR'S WORDS.

At the beginning of the 21st century, new forms and dynamics of interplay are constituted at the interfaces of media, art and politics. Current challenges in society and ecology, like climate, surveillance, virtualization of the global financial markets, are characterized by hybrid and subtle technologies. They are ubiquitous, turn out to be increasingly complex and act invasively. New media art utilizes its broad range of expression in order to tackle the most urgent topics through multi-sensorial, participatory, and activist approaches. This volume shows how media artists address, with a political lens, the core of these developments critically and productively. With contributions by Elisa Arca, Andrés Burbano, Derek Curry, Yael Eylat Van Essen, Mathias Fuchs, Jennifer Gradecki, Sabine Himmelsbach, Ingrid Hoelzl, Katja Kwastek, José-Carlos Mariátegui, Gerald Nestler, Randall Packer, Viola Rühse, Chris Salter.