Being And Neonness Translation And Content Revised Augmented And Updated For This Edition By Luis De Miranda
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Being and Neonness, Translation and content revised, augmented, and updated for this edition by Luis de Miranda
A cultural and philosophical history of neon, from Paris in the twentieth century to the perpetually switched-on present day. For most of us, the word neon conjures images of lights, colors, nightlife, and streets. It evokes the poetry of city nights. For Luis de Miranda, neon is a subject of philosophical curiosity. Being and Neonness is a cultural and philosophical history of neon, from early twentieth-century Paris to the electric, perpetually switched-on present day Manhattan. It is an inspired journey through a century of night, deciphering the halos of the past and the reflections of the present to shed light on the future. Invented in Paris in 1912, neon first appeared on a modest but arresting sign outside a small barbershop; the sign lit up number 14, Boulevard Montmartre, attracting so many passersby that the barber's revenues soon doubled. A century later, neon is no longer just a sign; it is a mythic object—a metonymy of contemporary identity and a metaphor for the present, signifying the ubiquity of commerce and the tautology of hypermodernity. But perhaps the noble gas of neon whispers something more, something deeper? In ten short, poetic yet precise chapters, de Miranda explores the neon lights of the twentieth century. He considers, among other historical curiosities, the neon compulsions of the Italian Futurists; the Soviet program of “neonization”; the Nazi's deployment of neon for propaganda purposes; Baudelaire's “halo” and Benjamin's “aura”; neon as a gas and crystallized chaos; neon and power; neon and capitalism—all of this backlit by an original reading of Sartre's Being and Nothingness. This English edition has been thoroughly revised and adapted from the French edition, L'être et le neon.
Being and Neonness
A cultural and philosophical history of neon, from Paris in the twentieth century to the perpetually switched-on present day. For most of us, the word neon conjures images of lights, colors, nightlife, and streets. It evokes the poetry of city nights. For Luis de Miranda, neon is a subject of philosophical curiosity. Being and Neonness is a cultural and philosophical history of neon, from early twentieth-century Paris to the electric, perpetually switched-on present day Manhattan. It is an inspired journey through a century of night, deciphering the halos of the past and the reflections of the present to shed light on the future. Invented in Paris in 1912, neon first appeared on a modest but arresting sign outside a small barbershop; the sign lit up number 14, Boulevard Montmartre, attracting so many passersby that the barber's revenues soon doubled. A century later, neon is no longer just a sign; it is a mythic object—a metonymy of contemporary identity and a metaphor for the present, signifying the ubiquity of commerce and the tautology of hypermodernity. But perhaps the noble gas of neon whispers something more, something deeper? In ten short, poetic yet precise chapters, de Miranda explores the neon lights of the twentieth century. He considers, among other historical curiosities, the neon compulsions of the Italian Futurists; the Soviet program of “neonization”; the Nazi's deployment of neon for propaganda purposes; Baudelaire's “halo” and Benjamin's “aura”; neon as a gas and crystallized chaos; neon and power; neon and capitalism—all of this backlit by an original reading of Sartre's Being and Nothingness. This English edition has been thoroughly revised and adapted from the French edition, L'être et le neon.
Sympathy for the Traitor
An engaging and unabashedly opinionated examination of what translation is and isn't. For some, translation is the poor cousin of literature, a necessary evil if not an outright travesty—summed up by the old Italian play on words, traduttore, traditore (translator, traitor). For others, translation is the royal road to cross-cultural understanding and literary enrichment. In this nuanced and provocative study, Mark Polizzotti attempts to reframe the debate along more fruitful lines. Eschewing both these easy polarities and the increasingly abstract discourse of translation theory, he brings the main questions into clearer focus: What is the ultimate goal of a translation? What does it mean to label a rendering “faithful”? (Faithful to what?) Is something inevitably lost in translation, and can something also be gained? Does translation matter, and if so, why? Unashamedly opinionated, both a manual and a manifesto, his book invites usto sympathize with the translator not as a “traitor” but as the author's creative partner. Polizzotti, himself a translator of authors from Patrick Modiano to Gustave Flaubert, explores what translation is and what it isn't, and how it does or doesn't work. Translation, he writes, “skirts the boundaries between art and craft, originality and replication, altruism and commerce, genius and hack work.” In Sympathy for the Traitor, he shows us how to read not only translations but also the act of translation itself, treating it not as a problem to be solved but as an achievement to be celebrated—something, as Goethe put it, “impossible, necessary, and important.”