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Henry Bate (1246-after 1310), the first to bring Ibn Ezra's astrological work to Latin readers, commissioned a Jewish scholar named Hagin le Juif to translate a collection of four astrological works by Ibn Ezra from Hebrew into French. These four French translations are preserved in two manuscripts. In the earliest of them (MS fr. 24276, Paris, BnF, fols. 1a-66a; copied in 1273), immediately after the French translations of Ibn Ezra's Sefer ha-Moladot (Book of Nativities), there is another French translation entitled Le Livre Even Massar des Revolucions du Siecle (The Book by Abu Mashar on the Revolutions of the World; henceforth Revolucions). So far, despite modern scholars' interest in Abu Ma'shar's work, no in-depth and detailed research has been conducted into the text and French terminology of Revolucions, into the relationship between the French terminology of Revolucions and that of the other four French translations included in the same manuscript, or into the relationship between the French terminology of Revolucions and that of the Hebrew astrological writings by Ibn Ezra. The main objective of the current study is to argue that Revolucions was carried out by Hagin le Juif on the basis of a Hebrew translation carried out by Abraham Ibn Ezra, and to offer an edition of Revolucions, accompanied by an English translation and introductory study. This introductory study will deal with the following questions: (i) What is the evidence that Abraham Ibn Ezra was the author of the intermediary Hebrew source text of Revolucions? (ii) What was Abu Ma'shar's Vorlage for Revolucions? (iii) Who took the initiative for including Revolucions in the same manuscript that has four French translations of Ibn Ezra's astrological writings? (iv) Why was Revolucions placed immediately after the French translations of Ibn Ezra's Sefer ha-Moladot?

Charles Burnett's 1978 independent film Killer of Sheep is often read as a neorealist testament to inner-city hope and malaise in Watts. The highly imagistic film, a landmark piece of L.A. Rebellion cinema, has gained a foothold in Black Film Studies since its republication and release in 2007. This paper adds to current readings by analyzing the film alongside black American cultural debates between the Civil Rights Movement and the mid-1980s, as well as the same periods economic shift out of a Fordist mode of production. I do this by examining Burnett's cinematographic focus on moving limbs, which I insist allows us to question the apparent representability of black people on-screen. Instead of racialized representation based on the face or body, the characters on-screen demonstrate embodied modes of articulation that, given the films focus on labor and social reproduction, resonate with recent discussions of Karl Marx concept of general intellect. While general intellect describes a shared capacity for individual expression and creation, Killer of Sheep offers a way of reading racial articulation as an embodied, social process that occurs in particular historical and material conditions. Burnett rendering of racialized articulation interrogates the distinctions that constitute a capitalist way of life organized around the wage worker, a way of life unraveling throughout the 1970s.

Charles Burnett's 1978 independent film Killer of Sheep is often read as a neorealist testament to inner-city hope and malaise in Watts. The highly imagistic film, a landmark piece of L.A. Rebellion cinema, has gained a foothold in Black Film Studies since its republication and release in 2007. This paper adds to current readings by analyzing the film alongside black American cultural debates between the Civil Rights Movement and the mid-1980s, as well as the same period's economic shift out of a Fordist mode of production. I do this by examining Burnett's cinematographic focus on moving limbs, which I insist allows us to question the apparent representability of black people on-screen. Instead of racialized representation based on the face or body, the characters on-screen demonstrate embodied modes of articulation that, given the film's focus on labor and social reproduction, resonate with recent discussions of Karl Marx's concept of general intellect. While general intellect describes a shared capacity for individual expression and creation, Killer of Sheep offers a way of reading racial articulation as an embodied, social process that occurs in particular historical and material conditions. Burnett's rendering of racialized articulation interrogates the distinctions that constitute a capitalist way of life organized around the wage worker, a way of life unraveling throughout the 1970s.

More than fifteen years have elapsed since \"Abraham Ibn Ezra's Scholarly Writings: A Chronological Listing\" was published in 2006. New discoveries have come to light since, underscoring the importance of a listing update. The present update lists examples of Ibn Ezra's astrological and astronomical writings (a) which have no surviving Hebrew Vorlage, but are obviously translations of texts by Ibn Ezra; (b) whose Hebrew source-texts are extant today; and (c) which have no surviving Hebrew counterpart in Ibn Ezra's astrological corpus and whose affiliation with Ibn Ezra is unclear. In addition, this article also corrects and complements information about works discussed in the 2006 article.

Nelson profiles filmmaker Charles Burnett whose films centered on portraying the African-American experience. Burnett was born in 1947. When he was three, he moved with his parents from Vicksburg MS to South Central Los Angeles. Burnett's best films lack stable centers. They drift, digress, linger on stray details and meander to the edges of the spaces they show. Twenty minutes into his first feature, Killer of Sheep, audience were wrenched from the film's central drama into a long, wide shot of a group of children running around a deserted construction site. They've passed in and out of the movie's first act, staging mock battles in a similar lot, killing time in railway yards, throwing rocks at passing trains, playing on rooftops, and in this case hanging out on a hot day, spinning a top and playing in the building's rubble. Every theatrical feature he's made since Killer of Sheep has had to survive a combination of production setbacks, funding shortages, studio interference, or slipshod marketing. Since the mid-nineties he hasn't made a single feature with theatrical distribution in the US.

[...]students began screening films on 35mm in December 1914 and have been doing so almost continuously since. Within about three years, the Cinema's small team met the charge of Dr. McRobbie for IU Cinema to become Bloomington's dedicated art house cinema; support the film work of students and alumni; be accessible in venue, programs, and pricing; collaborate within and become relevant to the academy; develop a sustainable infrastructure; and build a reputation of one of the best programs in the U.S. for film and media. In a late-2020 celebration of IU Cinema's first decade, President McRobbie proudly boasted some of the Cinema's stats, which included: * presenting nearly 3,000 public events; * screening over 2,200 unique film titles screened, representing 113 countries; * hosting more than 300 visiting filmmakers; * issuing more than 312,000 tickets, with more than 50% being free, with a market value exceeding $1.6 million; * collaborating on more than 40% of the programs with academic partners.

Henry Bate of Mechelen (1246–after 1310) was the first to bring the astrological work of the twelfth-century Jewish polymath Abraham Ibn Ezra (ca. 1089–ca. 1161) to the knowledge of Latin readers. Ibn Ezra created the first comprehensive set of Hebrew astrological textbooks that addressed the main systems of Arabic astrology and provided Hebrew readers with access to the subject. The present study, divided into three parts, studies Henry Bate as translator of Ibn Ezra's astrological writings. The first part focuses on Bate's complete translations, authenticates Bate's authorship, determines their title and the time and place of composition, and consolidates information about their source texts. The second part reviews Bate's numerous references to Ibn Ezra and translations of individual passages from his astrological works. The third part examines the most salient features of Henry Bate's modus operandi as translator of Ibn Ezra. This begins with his use of double or triple translations for a single word or locution, a feature that readers of his translations recognize as his hallmark. This is followed by an investigation of Bate's familiarity with Hebrew and how he applied this knowledge in his translations. Finally, it looks at the additions and glosses Bate incorporated into the translations and considers his motives for doing so. The conclusion summarizes the findings and asks how Bate prepared these translations.

For fear of becoming tongue-tied I wrote it out, and with it in my shaking hand I asked if she would be interested in publishing a book of my late husband Prof. David Pingree's essays that would be suitable for an undergraduate audience as well as the general reader.

Taking on new teaching positions are Samantha Sheppard at Cornell University in New York. Sean Jones at Johns Hopkins University in Baltimore, Marques Bradshaw at Vanderbilty University Medical Center in Nashville, and Charles Burnett at Bard College in Annandale-on-Hudson, New York.