453 research outputs found
André Breton’s Nadja: A \u3cem\u3eVagabonde\u3c/em\u3e in a \u3cem\u3eFemme Fatale’s\u3c/em\u3e Narrative
No full textThrough diverse styles of written and visual text (diary and pseudo-autobiographical narrative, drawings and photographs), André Breton—the narrative agent of Nadja (1928, revised by the author, 1962) who happens to share the author\u27s name—sets forth to recount his interactions with a mysterious âme errante whom he follows literally down a myriad of Parisian streets and figuratively to diverse avenues of self-understanding. However, if Breton initially finds himself intrigued—dare we say obsessed—by the eponymous Nadja, as the narrative progresses her aimless wandering, telepathic powers and free association speech eventually bore, unnerve and even frighten him. In fact, Nadja\u27s errant words and actions become so threatening for Breton that he ceases to see her in the best interest of his own wellbeing. At the work\u27s conclusion, Nadja\u27s wandering is put to an end when she is interned in an insane asylum; as if to underline his change of heart, Breton does nothing to free or even visit Nadja, preferring instead to pursue a far safer and less enigmatic love interest
Стратегии конструирования идентичности в мусульманском хип-хопе. Разносторонний анализ творчества немецкого рэпера Сахиры
No full textThe aim of Nadja Thoma's paper is to explore how young Muslim artists construct identity within contemporary hip-hop culture in Germany. Using the example of the rapper Sahira,the author focuses on the following questions: Which strategies are used to express religious identities in hip-hop? Which modifications of the traditional hip-hop culture can be observed within and through elements of Muslim culture and religion? The data used in the paper ranges from visual resources (a CD cover and the logo of the record label) to song lyrics and interview excerpts.In the first section of her paper the author offers an orientation towards hip-hop culture, introducing a number of important cultural concepts for the successive discussion. Then she provides an overview of discussions about the permissivity of music, especially hip-hop andIslam. Finally, Thoma deals with identity construction in German hip-hop culture and discusses of how cultural and religious identity is constructed in the work of the German rapper Sahira. At the conclusion, Nadja Thoma states, that multimodal analysis shows that German Muslim rap is the achievement of a recontextualization process, wherein a global cultural model has been adapted to a specific audience in a different reception country. Beyond the mere use of different languages as markers for ethnic belonging, Sahira uses religious visual codes and linguistic phrases in order to transgress ethnic differences and monocultural, monoreligious or Islamophobic conceptions which, in her opinion, could restrict communication. Furthermore, the different visual and linguistic elements are a demonstration of Sahira's ability to insert new elements into the existing hip-hop culture, one of the abilities which label someone a good and real rapper.Надя Тома анализирует в своей статье способы конструирования мусульманской идентичности средствами современной молодежной культуры на примере немецкой хип-хоп-исполнительницы палестинского происхождения Сахиры. Констатируя широкое распространение альтернативной музыкальной культуры, в частности хип-хопа в субкультуре молодых мусульман Германии, автор задается вопросом, какие стратегии используют современные мусульманские рэперы для выражения своей конфессиональной идентичности, как модифицируются стандарты хип-хоп-культуры в преломлении исполнителей мусульман и в соединении с элементами традиционной исламской культуры и религии. Исследуя обширную дискографию немецкого хип-хопа, Тома демонстрирует, что взаимодействие ислама и хип-хопа носит обоюдный характер, что выражается в росте числа принимающих ислам рэперов немусульманского происхождения. Рассматривая пример Сахиры как case-study, исследовательница приходит к выводу, что в этом примере проявляется процесс «реконтекстуализации», когда глобальная культурная модель (в данном случае, музыкальный стиль) адаптируется к потребностям специфической мусульманской аудитории отдельной страны. При этом религиозная символика и знаковая система используется как для преодоления этнолингивистических различий разных групп аудитории исполнителя, так и для разрушения монокультуралистских и исламофобских стереотипов германского общества. Таким образом, Сахира утверждает себя не только как истинная мусульманка, но и как «реальный» рэпер
Imagem e palavra: o jogo surreal das fotografias em Nadja, de André Breton
Get PDFThis paper aims to understand the inclusion of photographs in the novel Nadja (1928), by André Breton. Although the author states that they would be used to eliminate excess description, one realizes that perform other functions. They may represent a portal between the real world and the surreal present in the novel, forming a parallel between the word and the image. Thus, through an intertextual game they would be the link that refers the reader to the reality, but also induces observe the world from a more unusual point of view, more unusual than the purely documentary photographs.Este trabalho tem por finalidade compreender a inserção de fotografias na obra Nadja (1928), de André Breton. Embora o próprio autor afirme que elas seriam usadas para eliminar o excesso de descrição, percebe-se que desempenham outras funções. Elas podem representar um portal entre o mundo real e o mundo surreal presentes no romance, formando um paralelo entre a palavra e a imagem. Assim, através de um jogo intertextual elas seriam o elo que remete o leitor à realidade, mas também o induz a observar o mundo sob outro ponto de vista, mais inusitado que o das fotografias puramente documentais
Neguentropia e surrealismo. Uma leitura de Nadja, de André Breton
Get PDFNadja, written by the French author Andre Breton, holds the position of having implemented the aesthetics and semantics proposals of the Surrealist Manifestos, especially the 1924’s, which is a kind of foundation document of the movement. The inspired Breton’s peroration, in the artistic plan, states itself against descriptive and stilted novels, which are based on the idea of illusion of representation, and, on the social plan, challenges the perception of reality as an suprasensible truth by the idea of work and progress, excluding the crazy person from the social enviroment and locking him up in a real Kafkaesque hell, materially and conceptually. In a kind of otherness, Nadja’s protagonist, a Nietszche reader, will be a flaneur, widely aware; it will be up to him to decide whether and how the free association, the childlike simplicity, and the coherency in the madness should be (re)considered. These ideas are the determinants of a new perception of the world to Breton, and even more loyal to the earth than the metanarratives of the West. As opposed to the utensil men, described by Sartre in Aminadab (1947) as those who give themselves up to a tedious/utilitarian life, Breton’s protagonist represents what can be classified as a counterpoint, through the moral of resistance, giving Surrealism the nonentropic job of Modernism as a kind of last breath.Nadja (1928), do francês André Breton, guarda a condição de haver realizado, estética e semanticamente, as propostas advindas dos Manifestos Surrealistas, sobretudo ao de 1924, espécie de documento fundador do movimento. A inspirada peroração de Breton, no plano artístico, volta-se contra os romances descritivos e empolados, claudicados à ideia de ilusão da representação, enquanto, no plano social, contesta a percepção da realidade como uma verdade suprassensível, pelo viés do trabalho e ideia de progresso, excluindo o louco do seio social e trancafiando-o em verdadeiro inferno kafkiano, material e conceitualmente. Como uma espécie de alteridade, o protagonista de Nadja, leitor de Nietzsche, será um flanêur amplamente consciente; caberá a ele estabelecer a medida em que ideias como: livre associação, simplicidade infantil e a coerência na loucura, devam ser (re)consideradas, determinantes de uma nova percepção do mundo, para Breton, muito mais fiel à terra que as metanarrativas estruturais do Ocidente. Em oposição aos homens-utensílios, descritos por Sartre, em Aminadab (1947), como aqueles que se entregam à vida tediosa/utilitária, o protagonista de Breton exerce o que pode ser classificado como um verdadeiro contraponto, pela moral de resistência, dando ao Surrealismo o múnus neguentrópico do Modernismo, como uma espécie de suspiro derradeiro
Data from: Corridors restore animal-mediated pollination in fragmented tropical forest landscapes
No full textTropical biodiversity and associated ecosystem functions have become heavily eroded through habitat loss. Animal-mediated pollination is required in >94% of higher tropical plant species and 75% of the world´s leading food crops, but it remains unclear if corridors avert deforestation-driven pollination breakdown in fragmented tropical landscapes. Here, we used manipulative resource experiments and field observations to show that corridors functionally connect neotropical forest fragments for forest-associated hummingbirds and increase pollen transfer. Further, corridors boosted forest-associated pollinator availability in fragments by 14.3 times compared to unconnected equivalents, increasing overall pollination success. Plants in patches without corridors showed pollination rates equal to bagged control flowers, indicating pollination failure in isolated fragments. This indicates, for the first time, that corridors benefit tropical forest ecosystems beyond boosting local species richness, by functionally connecting mutualistic network partners. We conclude that small-scale adjustments to landscape configuration safeguard native pollinators and associated pollination services in tropical forest landscapes
A busca que nunca termina: modernidade, romance e poesia em Nadja, de André Breton
Get PDFIn a context of extreme rationalization and utilitarianism, that of the first decades of the twentieth century, the surrealist vanguard emerges as a way of endurance, seeking to perform and to find in art a place of fantasy and freedom which the modern world does not allow individuals to fully and autonomously live in. This pursuit for the meanings of life and the world, a trait of the problematic individual in conflict with his surrounding reality, as asserted by Georg Lukács, is manifest in the figure of Andre Breton, narrator and representation of the author himself in Nadja. In the beginning of the novel, he wanders aimlessly around the streets of Paris hoping to find in the big city – the greatest symbol of modernization – the sensory, the poetic, the essential, and the liberating experiences idealized by the surrealist art. Thus, the novel represents, on the one hand, the surrealist ideal of a poetic existence and a vital poetry in capturing the delicate and stormy relationship between the narrator and Nadja, who represents the very idea of freedom and creation, effulgent manifestation of desire, source of fascination and magical enchantment of existence; on the other hand, the novel also expresses the disappointment towards the transience of a passion that, being so overwhelming, simply cannot last. The aesthetic and artistic recreation of a sensual and idealist experience dissipates when faced with a reality that is always stronger and more abrasive than the poetic dream is able to endure.Em um contexto de racionalização e utilitarismo extremos, o das primeiras décadas do século XX, a vanguarda surrealista surge como forma de resistência, buscando realizar e encontrar na arte um espaço de sonho e liberdade que o mundo moderno não permite que os indivíduos vivam de forma completa e autônoma. Esse movimento de busca pelo sentido da vida e do mundo, característico do indivíduo problemático, como denomina Georg Lukács, desajustado da realidade que o cerca, fica claro na imagem de André Breton, narrador e figuração do próprio autor em Nadja (1999), pois desde as primeiras páginas do romance ele se lança pelas ruas de Paris, esperando encontrar na grande cidade, justamente o símbolo máximo da modernização, as experiências sensíveis, poéticas, essenciais e libertadoras idealizadas pela arte surrealista. Nesse sentido, o romance representa, de um lado, o ideal surrealista de uma existência poética e de uma poesia vital ao flagrar a delicada e tempestuosa relação do narrador com Nadja, representação da ideia mesma da liberdade e da criação, manifestação fulgurante do desejo, fonte de fascínio e encantamento mágico da existência; mas, por outro lado, o romance também expressa a desilusão diante da transitoriedade de uma paixão tão avassaladora que não pode durar, a recriação estética e artística de uma experiência sensual e idealista que se dissipa diante de uma realidade sempre mais forte e abrasiva do que o sonho poético pode suportar
A busca do infinito por meio da figura feminina em Nadja, de André Breton, e Voyages de l’ autre côté, de Jean-Marie Gustave le Clézio
Get PDFPublished in 1975, Voyages de l’autre côté, by Jean-Marie Gustave Le Clézio, critically recovers some ideals of the surrealist vanguard in the image of the character Naja Naja that is explicitly associated with the main character of Nadja (1928), by André Breton. Similar to the surrealists, Le Clézio subverts man’s relation with the world by suppressing the daily, utilitarian and practical aspect of life. The author breaks with the surrealist ideas due to his belief that the absolute does not need to be searched in any abstract reality, because it is concretely present in the core of the real. Thus, Le Clézio takes as his own the surrealist vanguard, updating his desires in the context of the contemporary literature.
Keywords: Le Clézio. French literature. Contemporary literature.Publicado em 1975, Voyages de l’autre côté, de Jean-Marie Gustave Le Clézio recupera de forma crítica alguns ideais da vanguarda surrealista por meio da personagem Naja Naja, que se associa explicitamente à personagem título de Nadja (1928), de André Breton. Como os surrealistas, Le Clézio subverte as relações do homem com o mundo, a fi m de suprimir o caráter cotidiano, utilitário e prático da vida. No entanto, rompe com o pensamento surrealista, pois o absoluto, segundo o autor, não precisa ser procurado em uma realidade abstrata, uma vez que está presente de modo concreto no seio do real. Dessa forma, Le Clézio se apropria da vanguarda surrealista, atualizando seus anseios no contexto da literatura contemporânea.
Palavras-chave: Le Clézio. Literatura francesa. Narrativa contemporânea
Neurobiologia na tropach uniwersalizmu percepcji sztuki. Prawa estetyki V.S. Ramachandrana i W. Hirsteina w kontekście dzieła sztuki filmowej. Studium przypadku: Nadja Michaela Almereydy
Get PDFVilayanur S. Ramachandran and William Hirstein are the authors of the concept of a work of art understood as an exaggerated stimulus in the creative process. The aim of art, according to them, is (a) to show the essence of something in a perceptually accessible way, and (b) to evoke a strong reaction from the recipient. Scientists say that the aim of art is not to perfectly reproduce reality, but to present the very essence of an object, scene or event by exaggerating its most characteristic features, while ignoring non-essential features. The effect of this treatment is a super stimulus, which is a supernatural stimulus that does not exist in the real world. Researchers have proposed seven universal – evolutionarily and culturally – neurological laws of aesthetic experience in relation to the visual arts (painting and sculpture). I propose to extend the tool apparatus of neuroaesthetics from the area of unimodal arts to a work of film art. It is an interesting tool for research into film aesthetics and masterpieces. In this paper, I will discuss these laws and make a representative analysis of them in a visual case study of Michael Almereyda’s film Nadja (1994). The main goal of my work is to show the stricto naturalistic position. Man is not aware that the first stages of cognitive perception have a significant impact on his interest in art, what he pays attention to, and on aesthetic experiences on a sensual, unconscious level. It is an interdisciplinary attempt to provide consistency of research approaches in the humanities with the naturalistic one in the area of natural sciences, which shows that on some levels we are very similar to each other and only in the process of ontogenesis do we acquire individuality – that we are governed by universal laws, not only those related to ourindividual interests and tastes.Vilayanur S. Ramachandran and William Hirstein are the authors of the concept of a work of art understood as an exaggerated stimulus in the creative process. The aim of art, according to them, is (a) to show the essence of something in a perceptually accessible way, and (b) to evoke a strong reaction from the recipient. Scientists say that the aim of art is not to perfectly reproduce reality, but to present the very essence of an object, scene or event by exaggerating its most characteristic features, while ignoring non-essential features. The effect of this treatment is a super stimulus, which is a supernatural stimulus that does not exist in the real world. Researchers have proposed seven universal – evolutionarily and culturally – neurological laws of aesthetic experience in relation to the visual arts (painting and sculpture). I propose to extend the tool apparatus of neuroaesthetics from the area of unimodal arts to a work of film art. It is an interesting tool for research into film aesthetics and masterpieces. In this paper, I will discuss these laws and make a representative analysis of them in a visual case study of Michael Almereyda’s film Nadja (1994). The main goal of my work is to show the stricto naturalistic position. Man is not aware that the first stages of cognitive perception have a significant impact on his interest in art, what he pays attention to, and on aesthetic experiences on a sensual, unconscious level. It is an interdisciplinary attempt to provide consistency of research approaches in the humanities with the naturalistic one in the area of natural sciences, which shows that on some levels we are very similar to each other and only in the process of ontogenesis do we acquire individuality – that we are governed by universal laws, not only those related to ourindividual interests and tastes
- …
