The Toledo Translation Fund was established to support the translation into English of major works in the humanities and social sciences, from a wide range of world languages and cultures. Named after the twelfth- and thirteenth-century Toledo School of Translators—whose translations of philosophical and scientific treatises from Arabic, Greek and Hebrew paved the way for the Renaissance—Toledo Translation Fund projects will focus on texts that are sure to be of enduring value.
Lincoln Center’s “Art of the Real” series, which [began on 11th April], probes sensitive spots of the wound at the origin of the cinema: the split between documentary and fiction. Many of the best movies are efforts to make the cinematic body whole again. One sidebar to the series, “Repeat As Necessary: The Art of Reenactment,” is focused on self-conscious and self-critical approaches to a practice that has become blandly automatic in documentary filmmaking. Among its highlights are films by Elisabeth Subrin, one of which, “Shulie”, from 1997, is among the most daring and revelatory works ever made on the subject of this practice.
In his review of Vivek Chibber’s Postcolonial Theory and the Specter of Capital as part of the review symposium of the Journal of World-Systems Research last summer, Ho-fung Hung declared that “[w]ithout any doubt, Vivek Chibber’s Postcolonial Theory and the Specter of Capital is a bomb.” Looking at the responses to the book since its publication, it is not hard to see why.
Last year, we gave a summary of the debate so far, but it has continued to rage on, and on, since then. To say that Chibber’s book, which won last year's PEWS Book Award, has divided opinion would be a drastic understatement. As Paul at Marxist Marginalia noted, “[It] is unlikely at this point that anyone will call the book boring.”