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Originally published in 1991 Redefining Translation looks at the practical results and theory of translation as a key area for all those investigating language and culture. The book addresses the need to consolidate advances in the field of translation and critically evaluate the variety of conflicting approaches. The book proposes a comprehensive approach to the study of translation, looking at the topic from a theoretical point of view, and provides an applicable approach to the everyday practice of translation.

Can films about black characters, produced by white filmmakers, be considered "black films"? In answering this question, Mark Reid reassesses black film history, carefully distinguishing between films controlled by blacks and films that utilize black talent, but are controlled by whites. Previous black film criticism has "buried" the true black film industry, Reid says, by concentrating on films that are about, but not by, blacks. Reid's discussion of black independent films—defined as films that focus on the black community and that are written, directed, produced, and distributed by blacks—ranges from the earliest black involvement at the turn of the century up through the civil rights movement of the Sixties and the recent resurgence of feminism in black cultural production. His critical assessment of work by some black filmmakers such as Spike Lee notes how these films avoid dramatizations of sexism, homophobia, and classism within the black community. In the area of black commercial film controlled by whites, Reid considers three genres: African-American comedy, black family film, and black action film. He points out that even when these films use black writers and directors, a black perspective rarely surfaces. Reid's innovative critical approach, which transcends the "black-image" language of earlier studies—and at the same time redefines black film—makes an important contribution to film history. Certain to attract film scholars, this work will also appeal to anyone interested in African-American and Women's Studies.

Imperialism as we knew it may be no more, but Empire is alive and well. It is, as Michael Hardt and Antonio Negri demonstrate in this bold work, the new political order of globalization. Their book shows how this emerging Empire is fundamentally different from the imperialism of European dominance and capitalist expansion in previous eras. Rather, today's Empire draws on elements of U.S. constitutionalism, with its tradition of hybrid identities and expanding frontiers. More than analysis, Empire is also an unabashedly utopian work of political philosophy.

Why do so many global strategies fail—despite companies’ powerful brands and other border-crossing advantages? Seduced by market size, the illusion of a borderless, “flat” world, and the allure of similarities, firms launch one-size-fits-all strategies. But cross-border differences are larger than we often assume, explains Pankaj Ghemawat in Redefining Global Strategy. Most economic activity—including direct investment, tourism, and communication—happens locally, not internationally. In this “semiglobalized” world, one-size-fits-all strategies don’t stand a chance. Companies must instead reckon with cross-border differences. Ghemawat shows you how—by providing tools for: · Assessing the cultural, administrative, geographic, and economic differences between countries at the industry level and deciding which ones merit attention. · Tracking the implications of particular border-crossing moves for your company’s ability to create value. · Creating superior performance with strategies optimized for adaptation (adjusting to differences), aggregation (overcoming differences), and arbitrage (exploiting differences), and for compound objectives. In-depth examples reveal how companies such as Cemex, Toyota, Procter & Gamble, Tata Consultancy Services, IBM, and GE Healthcare have adroitly managed cross-border differences—as well as how other well-known companies have failed at this challenge. Crucial for any business competing across borders, this book will transform the way you approach global strategy.

Frieda Ekotto, Kenneth W. Harrow, and an international group of scholars set forth new understandings of the conditions of contemporary African cultural production in this forward-looking volume. Arguing that it is impossible to understand African cultural productions without knowledge of the structures of production, distribution, and reception that surround them, the essays grapple with the shifting notion of what "African" means when many African authors and filmmakers no longer live or work in Africa. While the arts continue to flourish in Africa, addressing questions about marginalization, what is center and what periphery, what traditional or conservative, and what progressive or modern requires an expansive view of creative production.