Esta é a 2ª edição revista e ampliada do bem-sucedido Dicionário de Onomatopeias e Vocábulos Expressivos, resultado de uma pesquisa prazerosa nas letras da MPB, nas literaturas, poemas e nas histórias em quadrinhos. Esta obra está dividida em três partes: Primeira Parte, Segunda Parte e Adendo. A Primeira Parte reúne os vocábulos gerais que estão registrados nos dicionários convencionais como onomatopeia ou vocábulo expressivo, inclusive os que estão registrados como “prov.” (provavelmente) e “talvez” pelos autores e ainda os vocábulos onomatopaicos registrados como tal por autores de literaturas, livros diversos e letras da MPB. A Segunda Parte reúne os vocábulos que são muito parecidos com a onomatopeia ou com o vocábulo expressivo, mas não estão assinalados como tal nos dicionários convencionais, ou porque são de origem desconhecida ou porque são de origem estrangeira (no caso da onomatopeia, pois o vocábulo expressivo é somente da Língua Portuguesa). O Adendo apresenta vocábulos comuns que não são onomatopeias, entretanto, são usados como tal; e alguns caracteres usados especificamente nos gibis e histórias em quadrinhos.

"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.

What do we mean by the term "animation" when we are discussing film? Is it a technique? A style? A way of seeing or experiencing "a world" that has little relation to our own lived experience of "the world"? In Animated Worlds, contributors reveal the astonishing variety of "worlds" animation confronts us with. Essays range from close film analyses to phenomenological and cognitive approaches, spectatorship, performance, literary theory, and digital aesthetics. Authors include Vivian Sobchack, Richard Weihe, Thomas Lamarre, Paul Wells, and Karin Wehn.

In this new collection of essays on film, all written over the last ten years, Peter Wollen explores an extraordinarily wide range of topics, stretching from an analysis of 'Time in Film and Video Art' to a study of 'Riff-Raff Realism' in British films. There are provocative discussions of the works of established auteur directors such as Howard Hawks and Alfred Hitchcock and of the film-making careers of such experimental movie-makers as William Burroughs and Viking Eggeling, the dadaist pioneer of abstract film. The collection also includes fascinating studies of a number of film classics, such as John Huston's Freud, Jean Renoir's Rules of the Game and Ridley Scott's Blade Runner. Other essays deal with the relationship of film to the other arts, such as dance and architecture, and explore the interaction between film and anthropology. This is not a theoretical book but it is one that suggests many new approaches to thinking about film and many unexpected connections between film studies and the history of such strangely related activities as espionage, psychoanalysis, Stalinism, love of speed and digital technology. Full of fascinating new insights, Peter Wollen's new book is based on the premise that there are no fixed ways of writing about film but, rather, a plethora of paths leading in very different directions, each contributing to a new understanding of the twentieth century's major art-form.

An innovative reconceptualization of the defining quality of modernity and how it relates to cinema and literary theory.