Steven Jacobs - Böcker

A richly crafted tribute to the avant-garde artist and designer Sonia Delaunay, whose boundary-breaking approach is echoed in the volume’s interdisciplinarity and its inspired designWinner of the 2025 Dedalus Foundation Exhibition Catalogue AwardNamed one of AIGA's 50 Covers for 2024 Described as “the most significant contribution to Sonia Delaunay studies in a decade,” this catalogue sets a new standard for the study of this pioneering avant-garde artist, designer, and entrepreneur (1885–1979). Eschewing traditional chronological structures to better showcase groundbreaking research unifying the artist’s timeless oeuvre across mediums, this publication demonstrates Delaunay’s innate versatility and willingness to create without material limitation using her unique language of light and color. Textiles, fashion, interiors, book art, and more are highlighted across 26 chapters by leading international scholars to give new insight into Delaunay’s strategies of self-promotion, entrepreneurial endeavors, legacy-building efforts, and vast network of collaborators. These in-depth analyses, including previously underinvestigated material such as film, mosaics, tapestries, and interior design, offer a comprehensive perspective on Delaunay’s lifelong effort to unite art with life by harnessing the energy of technological advancement and the beauty of artisanal craftsmanship. Finally, an appendix provides a unique personal note—an epilogue by Patrick Raynaud, the last living member of Delaunay’s atelier—is a touching firsthand account of the artist’s working practices toward the end of her life. The design, by award-winning book creator Irma Boom, embraces Sonia Delaunay’s own approach to layout and typography, rendering a book that unites past and present to become a work of art in its own right. Distributed for the Bard Graduate Center Exhibition Schedule: Bard Graduate Center, New York(February 23–July 7, 2024)

The 1920s and 1930s saw the rise of the city symphony, an experimental film form that presented the city as protagonist instead of mere decor. Combining experimental, documentary, and narrative practices, these films were marked by a high level of abstraction reminiscent of high-modernist experiments in painting and photography. Moreover, interwar city symphonies presented a highly fragmented, oftentimes kaleidoscopic sense of modern life, and they organized their urban-industrial images through rhythmic and associative montage that evoke musical structures. In this comprehensive volume, contributors consider the full 80 film corpus, from Manhatta and Berlin: Die Sinfonie der Grosstadt to lesser-known cinematic explorations.

Supervisory Skills for the Technical Manager: A Guide to Success focuses exclusively on the dynamics of being a technical manager such as a scientist, programmer, or engineer. An R&D environment demands modified management techniques and this book explores how to do so.  Drawing of years of experience to provide technical managers with various tools and ways to apply them in supervisory situation, this essential title includes exercises, templates and checklists to accelerate their uses and applications on the job.  In addition, case studies are included throughout to thoroughly explain and explore the concepts discussed.Key topics include handing the transition to supervising others in research and development, the characteristics needed to motivate personnel in a R&D environment as compared to other areas of business are detailed.  The pitfalls and challenges of managing technical personnel, how delegating can build an effective team that can produce superior results, and how to monitor the work of previously independent personnel are also discussed.

Through the feature films and documentaries of directors including Emmer, Erice, Godard, Hitchcock, Pasolini, Resnais, Rossellini and Storck, Jacobs examines the way films 'animate' artworks by means of cinematic techniques, such as camera movements and editing, or by integrating them into a narrative. He explores how this 'mobilization' of the artwork is brought into play in art documentaries and artist biopics, as well as in feature films containing key scenes situated in museums. The tension between stasis and movement is also discussed in relation to modernist cinema, which often includes tableaux vivants combining pictorial, sculptural and theatrical elements. This tension also marks the aesthetics of the film still, which have inspired prominent art photographers such as Cindy Sherman and Jeff Wall.Illustrated throughout, Jacobs' study of the presence of art in film, alongside the omnipresence of the filmic image in today's art museums, is an engaging work for students and scholars of film and art alike.

The "Midrash Group" of the Scholar's Conference on the Holocaust and the Churches has met annually over the last decade to discuss ways for Christians and Jews to find meaning and direction in and from sacred texts after the Holocaust. Post Shoah Dialogues is a sample of four different dialogue sessions of the "Midrash Group." The idea for a Jewish-Christian dialogue on texts grew out of an ongoing conversation between the four scholars represented in this volume, due to the profound affect the Shoah had on the theological thinking of both groups. The essays, focusing on texts matched from Hebrew and Christian scriptures, allow Christians and Jews to read the texts together in such a way as to respect the authentic identity of each other, respect the deep questions arising from the Shoah, and to open avenues for more dialogue.

From the early efforts that emerged in the struggle against Nazism, and over the past half century, the field of genocide studies has grown in reach to include five genocide centers across the globe and well over one hundred Holocaust centers. This work enables a new generation of scholars, researchers, and policymakers to assess the major foci of the field, develop ways and means to intervene and prevent future genocides, and review the successes and failures of the past.The contributors to Pioneers of Genocide Studies approach the questions of greatest relevance in a personal way, crafting a statement that reveals one's individual voice, persuasions, literary style, scholarly perspectives, and relevant details of one's life. The book epitomizes scholarly autobiographical writing at its best. The book also includes the most important works by each author on the issue of genocide.Among the contributors are experts in the Armenian, Bosnian, and Cambodian genocides, as well as the Holocaust against the Jewish people. The contributors are Rouben Adalian, M. Cherif Bassiouni, Israel W. Charney, Vahakn Dadrian, Helen Fein, Barbara Harff, David Hawk, Herbert Hirsch, Irving Louis Horowitz, Richard Hovannisian, Henry Huttenbach, Leo Kuper, Raphael Lemkin, James E. Mace, Eric Markusen, Robert Melson, R.J. Rummel, Roger W. Smith, Gregory H. Stanton, Ervin Staub, Colin Tatz, Yves Ternan, and the co-editors. The work represents a high watermark in the reflections and self-reflections on the comparative study of genocide.

The 1920s and 1930s saw the rise of the city symphony, an experimental film form that presented the city as protagonist instead of mere decor. Combining experimental, documentary, and narrative practices, these films were marked by a high level of abstraction reminiscent of high-modernist experiments in painting and photography. Moreover, interwar city symphonies presented a highly fragmented, oftentimes kaleidoscopic sense of modern life, and they organized their urban-industrial images through rhythmic and associative montage that evoke musical structures. In this comprehensive volume, contributors consider the full 80 film corpus, from Manhatta and Berlin: Die Sinfonie der Grosstadt to lesser-known cinematic explorations.

In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais’s Van Gogh (1948), Henri-Georges Clouzot’s Le Mystère Picasso (1956) and a few others, most of them have received only scant scholarly attention. This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.

From the early efforts that emerged in the struggle against Nazism, and over the past half century, the field of genocide studies has grown in reach to include five genocide centers across the globe and well over one hundred Holocaust centers. This work enables a new generation of scholars, researchers, and policymakers to assess the major foci of the field, develop ways and means to intervene and prevent future genocides, and review the successes and failures of the past.The contributors to Pioneers of Genocide Studies approach the questions of greatest relevance in a personal way, crafting a statement that reveals one's individual voice, persuasions, literary style, scholarly perspectives, and relevant details of one's life. The book epitomizes scholarly autobiographical writing at its best. The book also includes the most important works by each author on the issue of genocide.Among the contributors are experts in the Armenian, Bosnian, and Cambodian genocides, as well as the Holocaust against the Jewish people. The contributors are Rouben Adalian, M. Cherif Bassiouni, Israel W. Charney, Vahakn Dadrian, Helen Fein, Barbara Harff, David Hawk, Herbert Hirsch, Irving Louis Horowitz, Richard Hovannisian, Henry Huttenbach, Leo Kuper, Raphael Lemkin, James E. Mace, Eric Markusen, Robert Melson, R.J. Rummel, Roger W. Smith, Gregory H. Stanton, Ervin Staub, Colin Tatz, Yves Ternan, and the co-editors. The work represents a high watermark in the reflections and self-reflections on the comparative study of genocide.

Screening Statues: Sculpture and Cinema is the first book to focus on the relationship between sculpture and the silver screen. It covers a broad range of magical, mystical and phenomenological interactions between the two media, from early film's eroticized tableaux vivants to enigmatic sculptures in modernist cinema. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. The book examines key sculptural motifs and cinematic sculpture in film history through a series of case studies and through an extensive reference gallery of 150 different films. Considering the work of directors like Georges Melies, Jean Cocteau and Alain Resnais, as well as films like House of Wax, Jason and the Argonauts and Clash of the Titans, this is an innovative exploration of two different media, their artistic traditions and their respective theoretical paradigms.

Screening Statues: Sculpture and Cinema is the first book to focus on the relationship between sculpture and the silver screen. It covers a broad range of magical, mystical and phenomenological interactions between the two media, from early film’s eroticized tableaux vivants to enigmatic sculptures in modernist cinema. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. The book examines key sculptural motifs and cinematic sculpture in film history through a series of case studies and through an extensive reference gallery of 150 different films. Considering the work of directors like Georges Méliès, Jean Cocteau and Alain Resnais, as well as films like House of Wax, Jason and the Argonauts and Clash of the Titans, this is an innovative exploration of two different media, their artistic traditions and their respective theoretical paradigms.

This collection of academic essays written by friends and colleagues of Professor Zev Garber, is a long-overdue tribute to an outstanding scholar, teacher, and mentor. Each contribution was written especially for this volume; none have been previously published. The various sections into which these essays are divided reflect the areas in which Professor Garber has devoted his own prodigious teaching and writing energies: the Holocaust, Jewish-Christian relations, philosophy and theology, history, biblical interpretation. Also included is a full bibliography of Professor Garber's own writings: books, articles both scholarly and popular, opinion pieces, and the like. The introduction by his good friend Steven Jacobs introduces Professor Garber to those who do not know him and reminds those who do of his important contributions to scholarship.

In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais’s Van Gogh (1948), Henri-Georges Clouzot’s Le Mystère Picasso (1956) and a few others, most of them have received only scant scholarly attention. This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.

It is fourteen years since insulin was last reviewed in The Handbook of Ex­ perimental Pharmacology, in volume 32. The present endeavor is more modest in scope. Volume 32 appeared in two separate parts, each having its own subeditors, and together the two parts covered nearly all areas of insulin pharmacology. Such comprehensiveness seemed impractical in a new volume. The amount of in­ formation related to insulin that is now available simply would not fit in a reasonable amount of space. Furthermore, for better or worse, scientists have be­ come so specialized that a volume providing such broad coverage seemed likely in its totality to be of interest or value to very few individuals. We therefore decided to limit the present volume to the following areas: insulin chemistry and structure, insulin biosynthesis and secretion, insulin receptor, and insulin action at the cellular level. We felt these areas formed a coherent unit. We also felt, perhaps as much because of our own interests and perspectives as any objective reality, that these were the areas in which recent progress has been most dramatic, and yet, paradoxically and tantalizingly, these were the areas in which most has yet to be learned. Even with this limited scope, there are some major gaps in coverage. Regrettably, two important areas, the beta cell ATP-sensitive potassium channel and the glucose transporter, were among these. Nevertheless, the authors who con­ tributed have done an excellent job, and we would like to thank them for their diligence.

Broodthaers' oeuvre and the history of experimental filmMarcel Broodthaers, one of the key figures of the postwar avant-garde, has been recognized and extensively studied as a poet who became a visual artist in 1964. However, years before creating his first sculptural objects and installations, Broodthaers made his debut as a filmmaker in 1957 with La Clef de l’horloge, embarking on a prolific cinema practice that yielded more than fifty films shot on 35mm and 16mm. Cinema, both as a medium and principle, was crucial to his artistry. Broodthaers's writings and visual oeuvre are permeated with allusions to film, its history, and its technology.Covering both well-known titles such as Le Corbeau et le renard (1967), La Pluie (1969), and Une Seconde d’éternité (1970) as well as many lesser-known Broodthaers films, the essays in this book discuss his films as inseparable from his entire oeuvre while situating them in the larger history of experimental film. In addition, the book scrutinizes his experiments with cinepoetry and expanded cinema, as well as his interest in early cinema and his fascination with signs and inscriptions.Marcel Broodthaers and Film brings together essays by Andrew Chesher, Eric C. H. de Bruyn, Xavier García Bardón, Charlotte Friling, Steven Jacobs, Bruce Jenkins, Deborah Schultz, Christophe Wall-Romana, and Raf Wollaert.