980 research outputs found
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
No full textThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Richardson, Barbauld, and the construction of an early modern fan club
No full textMPhilMuch has been written about the life and long works of the eighteenth century epistolary novelist, Samuel Richardson, but the prospect of his position as the first celebrity novelist – responsible for courting his own fame as well as initiating his own fan club – has largely been ignored. The body of manuscripts housed at the National Art Library in the Victoria and Albert Museum in London provides the modern scholar with evidence of the skeletal beginnings of an early fan club. This thesis aims to show how these manuscripts were turned into a saleable commodity by the publisher and entrepreneur Richard Phillips, while under the guiding hand of another, slightly later, literary celebrity, Anna Laetitia Barbauld. In order to restore Richardson’s reputation amongst a new nineteenth century audience, Barbauld was required to construct her own idea of him as an eighteenth century celebrity author, and in doing so the insecurities of a self-professed, apparently diffident man, are revealed. Barbauld’s capacious, but heavily edited selection of letters is analyzed in this thesis, providing ample evidence that Richardson’s correspondents were more than just eager letter writers. By using Barbauld’s biography of Richardson this thesis aims to show how she manipulates the genre of life writing in her construction of him.
This thesis offers an alternative reading of how the Richardson manuscripts are viewed, redefining them as not simply a collection of letters, but as a collective entity, deliberately selected and archived as evidence of an early modern fan club, and its celebrity managing director
Oral history of Michael Bronski
No full textMichael Bronski is an independent scholar, journalist, and writer who has been involved in social justice movements since the 1960s. He has been active in gay liberation as a political organizer, writer, editor, publisher and theorist since 1969. He is the author of numerous books.
His book, A Queer History of the United States, won the 2011 Lambda Literary Award for Best Non-Fiction, as well as the 2011 American Library Association Stonewall Israel Fishman Award for Best Non-Fiction. You Can Tell Just By Looking: And 20 Other Myths about LGBT Life and People (coauthored with Ann Pellegrini and Michael Amico) and Considering Hate: Violence, Goodness, and Justice in American Culture and Politics (coauthored with Kay Whitlock) were both nominated for Lambda Literary awards.
In 1999, he won the Martin Duberman Fellowship from the Center for Lesbian and Gay Studies at City University of New York, and the prestigious Stonewall Award from the Anderson Foundation that same year. In 2017, he was awarded the Bill Whitehead Award for Lifetime Achievement from the Publishing Triangle. Past recipients include Audre Lorde, Adrienne Rich, Martin Duberman, Samuel R. Delany, Lillian Faderman, Alison Bechdel, and Jonathan Ned Katz. He recently published A Queer History of the United States for Young People. He is Professor of the Practice in Activism and Media in the Studies of Women, Gender and Sexuality at Harvard University
Poética da penúria: a ator beckettiano
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.O objeto deste estudo é refletir sobre os principais dispositivos da poética beckettiana, os testemunhos de atores históricos que trabalharam sob a direção de Samuel Beckett para propor alguns caminhos de composição de um ator particular, que, com experiências de uma preparação dramatúrgica, condensaria um corpo em penúria. Para isso, investigamos algumas das características da obra beckettiana como a influência minimalista sobre suas peças tardias, a musicalidade que permeia o seu texto teatral e a imobilidade imposta à suas personagens. Mergulhamos no íntimo dessas personagens, com a finalidade de, através do levantamento dos principais traços absorvidos pelo ator beckettiano, estabelecer relações com o ator pós-dramático. A fim de confrontar as referências estudadas, propusemo-nos a encenar o espetáculo Inomináveis # coletivo Beckett, uma reunião das peças Play, Not I, Rough for theatre I e Footfalls. Consideramos e aferimos nossas hipóteses através de depoimentos cedidos pelos atores envolvidos em nossa encenação This work aims to study the most important tools of Samuel Beckett#s art, the testimony of historical actors who worked under his direction to propose possible ways of formation a particular actor that would condensate a body in a state of penury using experiences from dramaturgical preparation. We observed some characteristics of Beckett#s work as an influence of the Minimalism in his last plays, the musicality in his theatrical texts and the immobility of his characters. We studied the characters in depth to clear relations with the post-dramatic actors by mean of recognizing the most important features of actors involved with Samuel Beckett. In order to confront our references, we put forward a staging: Inomináveis # coletivo Beckett, a sequence of Play, Not I, Rough for theatre I and Footfalls. We investigated and assessed our hypotheses using testimonies of the actors involved in our staging
“Non canis, sed homo”: Menschenwürde und Ehre in der Naturrechtslehre Samuel Pufendorfs
No full textThe aim of the author, in this essay, is to analyze the concept of hu¬man dignity and its difference from that of honour in Samuel Pufendorf’s Natural Law theory.
Human dignity is - according to this philosopher - the moral basis of sociality as the fundamental proposition of his Natural Law. More precisely, the concept of dignitas individui is based on the comparison between man and animal. And what distinguishes the former from the latter within this comparison is the disposition of man to be ethically hound, i.e. to do one’s own duly ori condition of reciprocity. Moreover, from the subjective point of view human dignity is characterized by the feeling of self-esteem.
On the contrary Pufendorf defines the honour as a moral entity, and more exactly as the “moral quantity” (quantitas moralis), through which individuals are compared and valued in social life
The rise of securities markets : what can government do?
No full textUsing U.S. securities markets as a case history, the author explores the role securities markets play in economic development, how they emerge, and how regulation can make them more effective. Why the United States? Two centuries ago, it was a small undeveloped country with serious financial problems. It confronted those problems and, guided by Alexander Hamilton, creatively reformed its financial system, which then became a foundation of the U.S. economic infrastructure and a bulwark for long-term growth. When Hamilton's program established public credit and securitiesmarkets in the 1790s, U.S. citizens were immediately able to borrow from older, richer countries. U.S. wealth then increased until, by the end of the nineteenth century, U.S. residents began to lend and invest more abroad than they borrowed. During the 1820s and 1830s, the United States (usually state governments) borrowed large sums from foreign investors to build roads, canals, and early railroads, to make other transportation improvements, and to capitalize state banks. From the 1830s to the end of the century, still larger sums from overseas went into private U.S. railway companies that provided cheap transcontinental transportation. Most of this borrowing took the form of state and corporate bond sales to overseas investors. The pristine U.S. government credit established by Hamilton thus rubbed off on U.S. state and corporate debt. The British stock market did better than the U.S. market until the United States adopted security-market regulation (including disclosuire rules) under the SEC. Then the U.S. market became a world leader. The U.S. stock market developed more slowly than the bond market, but it both aided and benefited from foreign investment in U.S. bonds. Foreign investors preferred debt securities to equities, yet equities create a safety margin for bondholders who, because of this margin, are more willing to purchase and hold bonds. Foreign investors preferred bonds; U.S. investors, after exporting bonds, held more stocks than bonds at home. Why? Because good stock markets permit the conversion of equity securities into cash.Environmental Economics&Policies,Payment Systems&Infrastructure,Financial Intermediation,International Terrorism&Counterterrorism,Economic Theory&Research,Housing Finance,Insurance&Risk Mitigation,Financial Intermediation,Environmental Economics&Policies,Economic Theory&Research
Do electric crows fly over Adelaide?
No full textCatalogue of an exhibition held at SASA Gallery, Adelaide, 22 July-30 August 2013.
A collaborative project to construct an immersive neo-noir interior.Curators: Steve Kelly and Thomas Mical
External scholar, Michael Tawa
Artists/Designers: Andrew Butler, Disong Cheng, Katherine Donaldson, Mark Frost, Klaira Griffin, Peter Hilhorst, Kirrin Hembury, Todd Hislop, Tom Hocking, Shane Haddy, Patrick Holmes, Calum Hurley, Henry Jarvis, Margrethe Johannsen, Andre Lawrence, Jordon Leeflang, Michael Marner, Michael Majchrzak, Carly Mewett, Sarah Miller, Tessa Parry, Despina Pipikos, Jenna Schina, Jordon Schumacher, Morgan Thomson, Pedro Torres, Jessica Ware, Samuel Wiechula, Jack Wilde, Taylor Wiley, Karishma Wilson, Michael Wong.
Includes bibliographical references
From obscurity to new relevancy: A more accessible approach to Samuel Barber's Vanessa
No full textTo describe this study, I borrow from an eloquently titled article by Rupert Christensen,
“Samuel Barber’s opera Vanessa: from Pulitzer to obscurity…and beyond,” written as a
marketing piece for Glyndebourne’s 2018 production. This project addresses each of those key
words, and places particular focus on the “beyond.” This thesis accompanies a chamber version
of Vanessa prepared by the author with the permission of G. Schirmer, Inc. that reduces the
orchestration to 14 musicians. I outline the steps of creating this new orchestral reduction in
detail, providing an initial insight into a seldom-documented process. Additionally, I discuss how
this smaller chamber ensemble contributes to several aspects of practicality, accessibility and
creativity in future productions. This project hopefully increases the viability and performability
of the opera, bringing Vanessa from obscurity to new relevancy.U of I Only Restriction set for Item 117523 on 2021-04-14T16:14:21Z with date by [email protected] by David Butler ([email protected]) on 2021-04-14T16:25:10Z
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The Making of a COVID-19 Lab: A Business Exploration
No full textabstract: Early on in the pandemic, ASU leadership recognized an opportunity to involve the Biodesign Institute in an effort to keep local communities safe. Equipped with capital investments (and expertise) in diagnostic testing, university president Michael Crow tasked Dr. Joshua LaBaer - the executive director of Biodesign - to begin mapping out the lab’s logistic capabilities and operational plan. While initially testing through nasopharyngeal swabs, the Arizona Biodesign Clinical Testing Laboratory (ABCTL) eventually developed a saliva-based COVID-19 test that demonstrated higher efficacy and resource-efficiency. By maintaining rapid turnaround times for test results, the ABCTL has helped both the university population and local community operate safely. Lauded as a highly innovative testing site, the lab proved to be an essential asset as ASU, and the world, look to return to normalcy. The purpose of this thesis is to analyze the ABCTL’s inception and development using multi-faceted approaches from the business realm. There will be five topics discussed which are: • Volume I- Stakeholder Theory and Analysis Regarding the COVID-19 Bio-design Institute at Arizona State University (Claire Agee), • Volume II- The Lab as a Business Within a University Environment (Samuel Cosgrove) • Volume III- A Managerial Economic Perspective (Michael Qian) • Volume IV- An Analysis of its Upstream Supply Chain ( Kyle Mattson) • Volume V- An Operations Management Perspective (Corinne English) After these volumes, there will be a discussion about the growth and sustainability of the laboratory looking into the future. Although the ABCTL is young,the ever-changing market dynamics leave the organization with critical decisions going forward. (abstract
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