Journals Bucharest University Press
Not a member yet
3502 research outputs found
Sort by
Community-based urban waste management: Performance of TPS 3R waste treatment facility in Sleman Regency
No full textWaste treatment facilities reduce, reuse, and recycle (TPS 3R) exist in order to increase community participation in reducing waste at the source. This paper aims to determine the distribution and describe the performance of TPS 3R in Sleman Regency in reducing household waste and realising circular economy activities at the community level. The method used is a quantitative descriptive approach with spatial analysis across 42 TPS 3R units in Sleman Regency. Distribution of TPS 3R is almost evenly spread across all subdistricts and clustered in urban areas. Facilities in urban areas tend to be operational, whereas in rural areas some are not. Population density, accessibility, economic level, and employment type are external factors that affect the sustainability of facilities. This has an impact on internal factors, namely managerial capacity, managers’ welfare, and operational financing capacity. Both factors influence the type of innovation undertaken in support of the circular economy
The new capital city of Indonesia - social polarisation or social cohesion in Nusantara?
No full textThe relocation of the Indonesian capital city from Jakarta to East Kalimantan had an impact on the socio-cultural aspects of the society. This research aims to understand the extent to which the development of IKN can trigger polarisation or, conversely, increase social cohesion. A mixed-methods approach is used in this research’s methodology. This research is located in the Core Area of the Government Centre of IKN, the IKN Area, and the Development Area of IKN. The research results show that, in general, there is social cohesion between local communities and newcomers, while social polarisation is not yet visible. In general, the development of IKN can strengthen society’s adaptation to major changes, although specific challenges related to perceptions of security need to be overcome strategically
Re-imaginarea clasicilor: Antigone de ieri şi de azi
No full textIn this article, New York-based Romanian playwright and professor Saviana Stănescu discusses a few modern and contemporary dramatic re-imaginations of Antigone by Sophocles, examining various historical frames and artistic approaches, as she emphasizes theconnection between text and context
Cronică de spectacol: Henrik Ibsen Un duşman al poporului Regia: Thomas Ostermeier Dramaturgia: Florian Borchmeyer
No full textNu e o sarcină uşoară să pui în scenă piesele lui Ibsen în zilele noastre, când răbdarea spectatorului e din ce în ce mai subţiată de multitudinea stimulilor şi a zappingului cotidian. Cum să mai asculţi astăzi texte dramatice despre famile, datorie socială, onoare, principii, sacrificiu de sine? Ei bine, în această epocă a individualismului exacerbat, în care libertatea şi împlinirea personală sunt percepute în lumina unui carpe diem prost înţeles, piesa Un duşman al poporului, aparent greoaie şi tezistă, iese la rampă, citită de Thomas Ostermeier şi dramaturgul Florian Borchmeyer prin prisma problemelor politice şi ecologice care pun la încercare societatea civilă contemporană în Europa şi în întreaga lume
Georges Didi-Huberman: From "non-savoir" to the Atlas*
No full textThis essay investigates Georges Didi-Huberman\u27s work from the perspective of both his writing and his philosophy of the visual, seeing them as inextricably bound together. Firstly, his work is situated in connection with the relationship between language and the visual, arguing that they both critique each other. Then a particular example of Didi-Huberman\u27s distinctive approach to thinking andwriting about Renaissance art (Fra Angelico) is examined via Georges Bataille\u27s notion of "non-savoir" and Didi-Huberman\u27s own search for a language of figurability that might enable the dialectic of "savoir" and "non-savoir" to function. Secondly, the notion of "lieu," explored through the chora of Plato\u27s Timaeus and the work of the psychoanalyst Pierre Fédida, allows Didi-Huberman to develop his radical approach to art, moving from colour/figure in painting to space/dreams in the work of James Turrell. Lastly the chapter further stretches the boundaries of art experience through a discussion of Didi-Huberman\u27s curatorial practice, namely in his "Atlas" and"Ghost Stories" exhibitions (2010-14), which embrace questions of authority, memory, and politics. The tension between knowledge and non-knowledge continues to evolve, troubling and surprising us as we confront the ghosts of art\u27s past and renew our attention to thecontemporary world of images
On Moths and Butterflies, or How to Orient Oneself through Images
No full textThis essay discusses the motif of the butterfly and other Lepidoptera that Georges Didi-Huberman occasionally addressed in the two volumes of Essais sur l\u27apparition, Phasmes (1998) and Phalènes (2013). The hypothesis is that this motif can be viewed as a figural model of conceiving two essential elements of all art history, namely the nature of the image and its temporality. The flutteringbutterfly becomes an occasion to explain Didi-Huberman\u27s art history by relating its fundamental dimensions to other key figures with whom he is implicitly or explicitly in dialogue: Aloïs Riegl, Franz Wickhoff or Aby Warburg. Whereas the content of their specific art histories differs, they all resist the canonical conception of the image as an entity whose place and "immanent sense" is fixed in adiachronic narrative. Alternatively, they develop an art historical prototype where the image is thought of as an essentially relational entity whose latency of sense emerges when it is dialectically superposed on other images. Art history does not function as the stable chronological juxtaposition of artifacts but as the extraction of a virtual sense through the anachronistic superposition of imageskept in movement. When the diachronic arrangement of primary sources whose sense depends on their original context fails, art history internalizes a speculative epistemology where sense is equivalent to an associative force of images. Reading Didi-Huberman nowadays confronts the art historian with a fundamental epistemological question: what is the structure of the interpretative process involved in all history of art
Return
No full text\u27\u27(…) what is no longer archived in the same way is no longer lived in the same way. Archivable meaning is also and in advance codetermined by the structure that archives.\u27\u27 (Jacques Derrida, Archive Fever 18)Social media is undoubtedly an archive and seemingly similar to other repositories of photographs we are more familiar with, used to, and shaped by — at the same time it\u27s utterly unrecognizable and compelling in a completely different way. This paper attempts to resurrect qualities of the Photograph within that apparatus as a site of belonging and beginning, akin and undissociated from singular images of extant archives from which worlds can be illumined. It aims to locate for its singular Photographic image an originary Maternal quality as the locus of its power and its politics, and from which a (connection) community can be engaged.What Derrida names Archive Fever \u27\u27is to have an irrepressible desire to return to the origin, a homesickness, a nostalgia for the return to the most archaic place of absolute commencement.\u27\u2
Introduction : Déplier l’image
No full textL’idée de consacrer à Georges Didi-Huberman un numéro thématique dans la revue Images, Imagini, Images. Journal of Visual and Cultural Studies s’est formulée en 2013 lors d’une discussion avec Sorin Alexandrescu, directeur de la revue et du Centre d’excellence dans l’étude de l’image de l’Université de Bucarest. Nous nous posions à l’époque la question de la réception de l’oeuvre de cet auteur prodige dont la contribution au développement de ce qu’on appelle aujourd’hui les études visuelles était à nos yeux décisive et déterminante. Décisive par ce qu’elle propose et cherche à réaliser pleinement, c’est-à-dire un profond renouvellement de la pratique et du discours d’une discipline comme l’histoire de l’art, et partant, un profond renouvellement de nos façons de regarder les images, de penser, de travailler, de créer avec elles. Déterminante par ce qu’elle enseigne et transmet, directement et indirectement, si l’on pense que derrière l’oeuvre du philosophe et de l’historien de l’art qu’est Georges Didi-Huberman, c’est toujours la voix d’un maître qui se fait entendre, car depuis 1990 il enseigne l’histoire, la théorie, la poétique et la politique des images en tant que maître de conférences à l’École des hautes études en sciences sociales (EHESS) de Paris
Like Unlike: Mimesis, Montage, Mimicry
No full textAmong the contemporary image theorists, perhaps nobody has explored more intensely than Georges Didi-Huberman the implications of similarity and resemblance for the discourses on the so-called iconosphere. In my paper I will try to offer a general outline of the major implications of a theory of resemblance for the field of aesthetics and aisthesis. With the theoretical tools obtained through such a survey, I will then focus on Didi-Huberman\u27s works, aiming at identifying three main directions in his discussion onsimilarity and resemblance: a) the critical analysis of the notion of mimetic imitation within the art historical discourse (the relation "image-real referent" in the theory of representation); b) the theory and practice of montage (the relation "image-image" in the theory of comparison), and its possible justifications; c) the extreme cases of mimicry and camouflage (the relation "organism-environment," which turns into the "figure-background" difference in the theory of perception). These lines of investigation radicalize the concept of representation to such an extent as to make it collapse. As we will see, the third case will make explicit the oxymoronic tension within the Platonic tradition itself between, on the one side, the reductive definition of resemblance in terms of mimetic copy (Republic 10) and, on the other side, the much more flexible notion of likeness discussed in the Parmenides, a tension which does not cease to interrogate the contemporary reflection on the constellation of concepts such as likeness/unlikeness, similarity/dissimilarity, resemblance/dissemblance
ON THE ORIGIN OF NEGATIVE CONCORD IN ROMANCE LANGUAGES. THE CASE OF BALKAN ROMANIA
No full textThe purpose of the article is to contribute to the explanation of the emergence of negative concord in Romance languages. We discuss the hypothesis of Chiara Gianollo (2018) who shows that the relevant factors are the projection NegP (which emerged in Late Latin) and the new properties (also from Late Latin) of the negative indefinites (i.e. scalarity, emphasis of focus and suspension of the negation force). Gianollo shows that the loss of both focus emphasis and scalarity,coupled with,the grammaticalization of the negative feature of indefinites, produced in the early stages of most Romance languages indefinites that are existentials in the scope of negation. We show that this is just one evolution in the Romance area, because in Balkan Romania, negative indefinites in negative concord are universal quantifiers that outscope negation. This presupposes that negative indefinites in Balkan Romania did not lose scalarity or the focus emphasis. The necessary and sufficient conditions for the emergence of negative concord in Romance are therefore only two: the existence of the NegP projection and (in the case of negative indefinites) the grammaticalization of their negative feature. Scalarity and emphasis of focus, instead, are factors of variation in the realization of negative concord, as they may or may not be preserved by Romance languages