University Notebook This trendy blackboard/chalkboard design cover with college rule (often known as medium ruled paper), is the most common lined paper in use in the United States. Generally used in middle school through to college and is also popular with adults. Make this your choice for any teen or adult notebooks and composition books, sometimes known as exercise books outside the US. Makes a great gift for any new student going to college or university, and those experienced students going back to study next term! Act now, and order your University Notebook today.
Noam Chomsky applies a rational, scientific approach to disciplines as diverse as linguistics, ethics, and politics. His best-known innovations involve a groundbreaking theory of generative grammar, the revolution it initiated in cognitive science, and a radical encounter with political theory and practice. In Chomsky Notebook, Cedric Boeckx and Norbert Hornstein tackle the evolution of Chomsky's linguistic theory. Akeel Bilgrami revisits Chomsky's work on freedom and truth, and Pierre Jacob analyzes his naturalism. Chomsky's own contributions include an interview with Jean Bricmont and an essay each on Edward Said and the natural world. Altogether, these works reveal the penetrating insight of a remarkable intellectual whose thought extends into a number of fields within and outside of academia. For the uninitiated reader and longtime fan, this anthology attests to the power of Chomsky's rationalism and the dexterity of his critical investigations.
From the 1930s through the 1970s, the philosopher Martin Heidegger kept a running series of private writings, the so-called Black Notebooks. The recent publication of the Black Notebooks volumes from the war years have sparked international controversy. While Heidegger’s engagement with National Socialism was well known, the Black Notebooks showed for the first time that this anti-Semitism was not merely a personal resentment. They contain not just anti-Semitic remarks, they show Heidegger incorporating basic tropes of anti-Semitism into his philosophical thinking. In them, Heidegger tried to assign a philosophical significance to anti-Semitism, with “the Jew” or “world Judaism” cast as antagonist in his project. How, then, are we to engage with a philosophy that, no matter how significant, seems contaminated by anti-Semitism? This book brings together an international group of scholars from a variety of disciplines to discuss the ramifications of the Black Notebooks for philosophy and the humanities at large. Bettina Bergo, Robert Bernasconi, Martin Gessmann, Sander Gilman, Peter E. Gordon, Hans Ulrich Gumbrecht, Michael Marder, Eduardo Mendieta, Richard Polt, Tom Rockmore, Peter Trawny, and Slavoj Žižek discuss issues including anti-Semitism in the Black Notebooks and Heidegger’s thought more broadly, such as German conceptions of Jews and Judaism, Heidegger’s notions of metaphysics, and anti-Semitism’s entanglement with Heidegger’s views on modernity and technology, grappling with material as provocative as it is deplorable. In contrast to both those who seek to exonerate Heidegger and those who simply condemn him, and rather than an all-or-nothing view of Heidegger’s anti-Semitism, they urge careful reading and rereading of his work to turn Heideggerian thought against itself. These measured and thoughtful responses to one of the major scandals in the history of philosophy unflinchingly take up the tangled and contested legacy of Heideggerian thought.
I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.
The Creative Ethnographer's Notebook offers emerging and trained ethnographers exercises to spark creativity and increase the impact and beauty of ethnographic study. With contributions by emerging scholars and leading creative ethnographers working in various social science fields (e.g., anthropologists, educators, ethnomusicologists, political scientists, geographers, and others), this volume offers readers a variety of creative prompts that ethnographers have used in their own work and university classrooms to deepen their ethnographic and artistic practice. The contributions foreground different approaches in creative practice, broadening the tools of multimodal ethnography as one designs a study, works with collaborators and landscapes, and renders ethnographic findings through a variety of media. Instructors will find dozens of creative prompts to use in a wide variety of classroom settings, including early beginners to experienced ethnographers and artists. In the eBook+ version of this book, there are numerous pop-up definitions to key ethnographic terms, links to creative ethnographic examples, possibilities for extending prompts for more advanced anthropologists, and helpful tips across all phases of inquiry projects. This resource can be used by instructors of anthropology and other social sciences to teach students how to experiment with creative approaches, as well as how to do better public and engaged anthropology. Artists and arts faculty will also benefit from using this book to inspire culturally attuned art making that engages in research, as well as research-based art. Readers will learn how creative ethnography draws on aspects of the literary, visual, sonic, and/or performing arts. Information is provided about how scholars and artists, or scholartists, document culture in ways that serve more diverse public and academic audiences.
Srinivasa Ramanujan is, arguably, the greatest mathematician that India has produced. His story is quite unusual: although he had no formal education inmathematics, he taught himself, and managed to produce many important new results. With the support of the English number theorist G. H. Hardy, Ramanujan received a scholarship to go to England and study mathematics. He died very young, at the age of 32, leaving behind three notebooks containing almost 3000 theorems, virtually all without proof. G. H. Hardy and others strongly urged that notebooks be edited and published, and the result is this series of books. This volume dealswith Chapters 1-9 of Book II; each theorem is either proved, or a reference to a proof is given.
Aimé Césaire's masterpiece, Notebook of a Return to the Native Land, is a work of immense cultural significance and beauty. This long poem was the beginning of Césaire's quest for négritude, and it became an anthem of Blacks around the world. Commentary on Césaire's work has often focused on its Cold War and anticolonialist rhetoric—material that Césaire only added in 1956. The original 1939 version of the poem, given here in French, and in its first English translation, reveals a work that is both spiritual and cultural in structure, tone, and thrust. This Wesleyan edition includes the original illustrations by Wifredo Lam, and an introduction, notes, and chronology by A. James Arnold.
Ponderings II–VI begins the much-anticipated English translation of Martin Heidegger's "Black Notebooks." In a series of small notebooks with black covers, Heidegger confided sundry personal observations and ideas over the course of 40 years. The five notebooks in this volume were written between 1931 and 1938 and thus chronicle Heidegger's year as Rector of the University of Freiburg during the Nazi era. Published in German as volume 94 of the Complete Works, these challenging and fascinating journal entries shed light on Heidegger's philosophical development regarding his central question of what it means to be, but also on his relation to National Socialism and the revolutionary atmosphere of the 1930s in Germany. Readers previously familiar only with excerpts taken out of context may now determine for themselves whether the controversy and censure the "Black Notebooks" have received are deserved or not. This faithful translation by Richard Rojcewicz opens the texts in a way that captures their philosophical and political content while disentangling Heidegger's notoriously difficult language.
Within weeks of Thomas Hardy’s return to his native Dorchester in June 1883, he began to compile his ’Facts’ notebook, which he kept up throughout the years when he was writing some of his major work - The Mayor of Casterbridge, The Woodlanders, Tess of the d’Urbervilles and Jude the Obscure. From his intensive study of the Dorset County Chronicle for 1826-1830, he noted and summarised into 'Facts' (with the help of his first wife, Emma) hundreds of reports, many of them suggestive 'satires of circumstance', for possible use in his fiction and poems. Along with extensive reading in memoirs and local histories, this immersion in the files of the old newspaper involved him in a wider experience - the recovery and recognition of the unstable culture of the local past in the post-Napoleonic war years before his birth in 1840, and before the impact of the modernising of the Victorian era. 'Facts' is thus a unique document amongst Hardy's private writings and is here for the first time edited, the text transcribed in 'typographical facsimile' form, together with substantial annotation of the entries and critical and textual introductions.
Since The Grass is Singing was published in 1950, Doris Lessing has commanded a widespread and heterogeneous readership. Written from a feminist political perspective, and employing diverse modes of critical analysis, the present volume, originally published in 1982, aims to combine detailed technical exploration of Lessing’s work with a sense of this extraordinary writer’s historical, political and personal development. The essays, placed in political and biographical context by the editor’s introduction, span the entire length of Lessing’s career, up to Canopus in Argos, and includes studies of A Man and Two Women, The Golden Notebook and The Children of Violence as well as an interview with David Gladwell, director of Memoirs of a Survivor.
