We may not be able to make you love reading, but archaeology of knowledge will lead you to love reading starting from now. Book is the window to open the new world. The world that you want is in the better stage and level. World will always guide you to even the prestige stage of the life. You know, this is some of how reading will give you the kindness. In this case, more books you read more knowledge you know, but it can mean also the bore is full.

The archaeology of knowledge

萨义德以其独特的双重身份,对西方中心权力话语做了分析,通过对文学作品、演讲演说等文本的解读,将O rie n ta lis m——"东方学",做了三重释义:一门学科、一种思维方式和一种权力话语系统,对东方学权力话语做了系统的批判,同时将东方学放入空间维度对东方学文本做了细致的解读。

萨义德的“Orientalism”释义

Note on Translation Introduction by Michael Holquist Response to a Question from the Novy Mir Editorial Staff The Bildungsroman and Its Significance in the History of Realism (Toward a Historical Typology of the Novel) The Problem of Speech Genres The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis From Notes Made in 1970-71 Toward a Methodology for the Human Sciences Index

Speech Genres and Other Late Essays

Continuous casting process for the production of hollow ingot using an improved direct chill casting equipment having a molding system comprising a hollow mold and a movable platform, wherein at least one core and a pipe for introducing outer air are provided, said core being made from a refractory material unwettable with a molten metal and having a convergent taper at the side and an air runner for introducing outer air, which is packed with an air-permeable material, at the bottom, and said pipe for introducing outer air extending upwards from the air runner and passing through the core. The continuous casting process comprises continuously pouring a molten metal into a space surrounded with the hollow mold and the core of the above equipment; cooling the molten metal only at the side wall of the hollow mold without cooling at the side of the core; thereby solidifying the molten metal to form an ingot having a hollow, wherein the interface of the frozen metal and the liquid metal is present at the position around the core; and continuously lowering the ingot thus formed while introducing spontaneously outer air into the hollow part via the pipe for introducing outer air and the air runner of the core.

Regarding the Pain of Others

Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual process through a multimedia installation that also reflects upon temporality, art history, ecology and science. Introduced with a time-lapse video of weather patterns captured by web cam over the course of an entire year, atmospheric effects assume the quality of translucent washes that blur distinctions between opacity and transparency, painting and technology. Aerial views of built environments set against expansive cityscapes present essential imagery for large-format digital woodblock prints realized in monochromatic tonals and saturated grids of yellow and blazing orange. Some combine undulating wood grain patterns with pinhole perforations to admit light; others consist of diaphanous walnut stains applied to hand-crafted paper, a self-referential allusion to art’s planarity and permeable membrane. The evanescence of these views is echoed in pristine impressions of filtered dust and shimmering milkweed assemblages contained in Plexiglas light boxes. Known as Asclepias, milkweed is an herbaceous flower named by Carl Linnaeus after Asclepius, the Greek god of healing, due to its efficacious medicinal powers. Like the weather, the milkweed’s reflective silver filaments respond to shifting currents of air paired with gently wafted treetops projected in the viewing room. Here pearls of light corresponding to the spheres and pinpricks of the prints on the walls float randomly over the fictitious frame of a cubical vitrine. Orbs appear and disappear amid nocturnal shadows as figments of the imagination, their languid dispersion eliciting not-ofthis-world sensations of suspension, ascent and transcendence. This joined to the mesmerizing stillness of a gallery pierced occasionally by the sound of supersonic aircraft, a reminder of the machine in the garden. Beyond, the history of landscape photography and the Romantic sublime are encoded in works titled “Old Stand” that render minuscule figures of stationary box photographers against the grandeur of ice-capped Rockies. In some of the works the human figure is effaced as a historical memory through exquisitely modulated rubbings whose unbounded spatiality contrasts with the reflexive interiority of the viewing room. Campbell’s incandescent vision of nature asserts the phenomenal power of art to elevate the human spirit in the presence of heart-stirring beauty. It dares to reaffirm the timeless union between the material and immaterial substance of the universe, between human life and the ephemera of the natural world. f i l m

This Changes Everything: Capitalism vs. the Climate

The WTO protests in Seattle witnessed the emergence of an international citizens' movement for democratic globalization. With the tactical exploitation of television, the internet, and other technologies, Seattle also witnessed the enactment of forms of activism adapted to a wired society. In the wake of Seattle, this essay introduces the “public screen” as a necessary supplement to the metaphor of the public sphere for understanding today's political scene. While a public sphere orientation inevitably finds contemporary discourse wanting, viewing such discourse through the prism of the public screen provokes a consideration of new forms of participatory democracy. In comparison to the public sphere's privileging of rationality, embodied conversations, consensus, and civility, the public screen highlights dissemination, images, hypermediacy, publicity, distraction, and dissent. Using the Seattle WTO protests as a case study and focusing on the dynamic of violence and the media, we argue that the public sc...

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From public sphere to public screen: democracy, activism, and the "violence" of Seattle

This essay attempts to address the lack of critical analyses of images of toxins by examining the photography of landscape artists whose goal is to create a presence for contaminated sites. Imaging toxicity is no simple task as many pollutants are invisible and sites of contamination are concealed, especially for those of privilege. Contemporary artists who attempt this challenge are often criticized that the beauty of their images obfuscates the health and environmental risk of the polluted sites they photograph. In response, this essay introduces the concept of the toxic sublime as a means of analyzing the tensions arising from visual representations of environmental contamination: beauty and ugliness, magnitude and insignificance, the known and the unknown, inhabitation and desolation, security and risk. The essay charts the evolution of the sublime in the US, describing how it has evolved from sites of nature to sites of technology to human damaged landscapes, some of which produce a toxic sublime. Th...

Toxic Sublime: Imaging Contaminated Landscapes

Armed with their personal experiences and community ties, the women of Environmental Justice have called into question the distribution of waste in the United States. In this essay, we explore the communicative practices that have enabled the movement to achieve change in extraordinarily difficult contexts. The women use what appears to be a liability, their gender, especially their role as mothers, to challenge practices and policies that threaten their homes, families, and communities.

The Truth of the Matter: Motherhood, Community and Environmental Justice

The Trump Administration has adopted “energy dominance” as its guiding ideology for energy policy, marking a notable shift from decades of “energy security” rhetoric. This paper analyzes how Secretary of Interior Ryan Zinke, one of the administration’s key spokespeople for energy dominance, uses “energy covenant renewal” to frame the importance of energy dominance for the conservative base. Covenant renewal is a modified form of the jeremiad; Zinke uses it to unite conservative identities around energy politics and policies. Energy dominance thus invites those who feel aggrieved under Obama administration regulatory policy and the multicultural identity politics of the left to renew their commitment to fossil fuels, American exceptionalism, and a restored social order and privilege.

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The Energy Covenant: Energy Dominance and the Rhetoric of the Aggrieved

With its hundred-year history; its global reach; its local interests; its implications for government and industry, science, and humanity; and organizations that range from the mildest of reformers to the most radical of protesters, environmentalism is a difficult subject to organize and elucidate. This is the task John S. Dryzek sets out to accomplish in the second edition of his book The Politics of the Earth: Environmental Discourses. Dryzek understands the challenge. In his introduction, he positions his book as offering a \"bigger territory\" view of environmental political discourse. He writes, \"I will be guided by some analytical devices and distinctions ... that give me some confidence in painting such large and complex discursive terrain in broad strokes. I seek vindication only in the plausibility of the stories I tell\" (p. 11 ). As backing for these narratives, he offers his impressive 25 years of teaching and writing in the environmental field. Dryzek begins his first chapter with a sharp-eyed introduction to environmental problems. With a snapshot approach, he illustrates the changing political context for environmental concerns: swamps have become wetlands, people have become populations, and the Earth may, after all, be a finite resource. This introduction to environmental issues is simply written and compelling an excellent vehicle for discussion in an upper division environmental studies class. For his \"analytical devices and distinctions,\" Dryzek classifies environmental discourses into a matrix, with the horizontal dimension characterizing the discourse as either reformist or radical in its departure from industrialism. The vertical dimension describes whether the discourse is prosaic (forming assumptions from the

Jennifer Peeples

Papers

From public sphere to public screen: democracy, activism, and the "violence" of Seattle

Toxic Sublime: Imaging Contaminated Landscapes

The Truth of the Matter: Motherhood, Community and Environmental Justice

The Energy Covenant: Energy Dominance and the Rhetoric of the Aggrieved

The politics of the Earth: Environmental discourses