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Invisibility
Invisibility
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Invisibility Cloaks
Do you lose yourself in daydreams about invisibility cloaks tractor beams and replicators Do you wish that you could have been born a few hundred years later when all of these things are a reality This series explores the real-life science behind some of our favourite science fiction gadgets and shows how a future filled with space shuttles solar sails and bionic limbs might be closer than you think|Do you lose yourself in daydreams about invisibility cloaks tractor beams and replicators Do you wish that you could have been born a few hundred years later when all of these things are a reality This series explores the real-life science behind some of our favourite science fiction gadgets and shows how a future filled with space shuttles solar sails and bionic limbs might be closer than you think
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Nomenclatures of Invisibility
Nomenclatures of Invisibility
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Invisibility by Design : Women and Labor in Japan's Digital Economy
In the wake of labor market deregulation during the 2000s, online content sharing and social networking platforms were promoted in Japan as new sites of work that were accessible to anyone.Enticed by the chance to build personally fulfilling careers, many young women entered Japan's digital economy by performing unpaid labor as photographers, net idols, bloggers, online traders, and cell phone novelists.While some women leveraged digital technology to create successful careers, most did not.In Invisibility by Design Gabriella Lukács traces how these women's unpaid labor became the engine of Japan's digital economy.Drawing on interviews with young women who strove to sculpt careers in the digital economy, Lukács shows how platform owners tapped unpaid labor to create innovative profit-generating practices without employing workers, thereby rendering women's labor invisible.By drawing out the ways in which labor precarity generates a demand for feminized affective labor, Lukács underscores the fallacy of the digital economy as a more democratic, egalitarian, and inclusive mode of production.
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The Translator's Invisibility : A History of Translation
Since publication over twenty years ago, The Translator’s Invisibility has provoked debate and controversy within the field of translation and become a classic text.Providing a fascinating account of the history of translation from the seventeenth century to the present day, Venuti shows how fluency prevailed over other translation strategies to shape the canon of foreign literatures in English and investigates the cultural consequences of the receptor values which were simultaneously inscribed and masked in foreign texts during this period.Reissued with a new introduction, in which the author provides a clear, detailed account of key concepts and arguments in order to issue a counterblast against simplistic interpretations, The Translator’s Invisibility takes its well-deserved place as part of the Routledge Translation Classics series.This book is essential reading for students of translation studies at all levels.
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The Invisibility of Religion in Contemporary Art
The Invisibility of Religion in Contemporary Art offers a critical guide for rereading and rethinking religion in the histories of modern and contemporary art. Since the turn of the twenty-first century, there has been a marked increase in attention to religion and spirituality in contemporary art among artists and scholars alike, but the resulting scholarship tends to be dispersed, disjointed, and underdeveloped, lacking a sustained discourse that holds up as both scholarship of art and as scholarship of religion.The Invisibility of Religion in Contemporary Art is both a critical study of this situation and an adjustment to it, offering a much-needed field guide to the current discourse of contemporary art and religion.By connecting the work of leading art historians, theologians, philosophers, and sociologists, Jonathan A. Anderson uncovers the gaps and reveals opportunities for scholars to engage more fully with the theological grammars, histories, and concepts at play in modern and contemporary art. By addressing the religious blind spots in existing scholarship, Anderson opens new lines of inquiry and invites deeper dialogue between religious studies, theology, and art history and criticism.
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