Povinné čítanie pre každého futbalového fanúšika" encyklopédii nájde prehľadný súhrn histórie futbalu. Dozvie sa o pravidlách, taktike a technike tejto najobľúbenejšej hry. Nájde tu všetko, čo potrebuje vedieť o kluboch, fanúšikoch, rituáloch, štatistikách a výsledkoch.
Pravidla nejpopulárnějšího sportu na světě, přehled slavných stadionů, klubů a soutěží v obrazové publikaci.
Accompanied by some of his lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with David Goldblatt three months before his death in June 2018. Goldblatt was born in Randfontein—a mining town on the Witwatersrand gold reef—in 1930, the grandson of Lithuanian-Jewish migrants who settled in South Africa after escaping persecution in Europe. After the death of his father in 1962, Goldblatt sold the family clothing business to become a full-time photographer. Describing himself as “a self-appointed observer and critic of the society into which I was born,” he photographed the people, landscapes and structures of South Africa under apartheid and its persistent aftermath. In this candid conversation with writer Alexandra Dodd, Goldblatt shares his views about land and landscape, the dangerous lure of repetition in portrait photography, Johannesburg, the solipsism of life as a photographer, staying sharp, his visceral intolerance of censorship, his abiding interest in structures and his observation of instances of dominion under democracy, among other key themes.
David Goldblatt (1930–2018) began working on Some Afrikaners Photographed (1975) in 1963. He had sold his father’s clothing store where he worked, and become a full-time photographer. The ruling Afrikaner National Party―many of its leaders and members had supported the Nazis in the World War II―was firming its grip on the country in the face of black resistance. Yet Goldblatt was drawn not to the events of the time but to “the quiet and commonplace where nothing ‘happened’ and yet all was contained and immanent.” Making these photos he explored his ambivalence toward the Afrikaners he knew from his father’s store. Most, he guessed, were National Party voters, yet he experienced them as “austere, upright, unaffected people of rare generosity of spirit and earthy humor.” Their potency and contradictions moved and disturbed him; their influence pervaded his life. The book includes an essay by famed South African writer Antjie Krog.
The book delves into the intricate relationship between ventriloquism and various forms of expression, including art and philosophy. Goldblatt explores themes such as the duality of voice in the ventriloquist-dummy dynamic, the concept of self-effacement in communication, and the ancient Greek idea of ecstasy. He also addresses the idea of bringing inanimate objects to life, highlighting the anthropomorphic tendencies inherent in this art form. Through these explorations, the work offers a unique perspective on the nature of voice and identity in creative practices.
Aims to provide a definitive history of global football.
Farbfotografien des bekannten südafrikanischen Fotografen David Goldblatt zeigen sowohl den blühenden Reichtum und die stetige Fortentwicklung von Johannesburg wie den täglichen Überlebenskampf seiner armen Bewohner. Die Landschaftsfotos fangen die atemberaubende Schönheit Südafrikas ein, aber auch die Zerstörungen des Landes durch den Minenbau. Alle Fotos machen die starken Gegensätze im heutigen Südafrika deutlich: Schwarz und Weiß, Stadt und Land, Verzweiflung und Hoffnung. Ein faszinierendes fotografisches Porträt, das Südafrika eindrucksvoll vor unseren Augen lebendig werden lässt
'Eindrucksvolle Dokumente von Landschaften, Architektur und der Lebenskultur der Menschen in Südafrika.' Badische Zeitung
The critically acclaimed global story of football in the twenty-first century.
A profoundly moving book that combines the superb writings fo Gordimer and the stark, powerful photogrpahs fo Goldblatt to show us, in the details of individual lives, the great human damage wrought by apartheid. Black-and-white photographs.----------This work is another contribution to the growing pictorial record of apartheid in South Africa, and like some earlier series of black-and-white photographs it is haunted with pathos and irony. Like the pictures from Peter Magubane's Magubane's South Africa ( LJ 5/15/78), Goldblatt's images span 35 years and qualify as works of art in their own right. Complementing the harsh reality represented by the photographs are excerpts from the writings of South African novelist Gordimer, which in their way are as telling as the scholarly pieces that accompany South Africa, the Cordoned Heart , edited by Omar Badsha ( LJ 5/15/86), a work to which Goldblatt also contributed. Despite the photographic essays already available, libraries may still find this handsome book worth acquiring. Paul H. Thomas, Hoover Inst. Lib., Stanford, Cal.Copyright 1986 Reed Business Information, Inc.
