175 research outputs found
Towards a relational ethics in pandemic times and beyond: Limited accountability, collective performativity and new subjectivity
No full textIt is often said that desperate times call for desperate measures. Yet, in the contemporary pandemic crisis, desperate organizational measures seem all but present. Instead, for most of us it is 'business as usual' while we are at the same time required to take care of our kids. The situation makes us highly uncomfortable and overwhelms many of us with feelings of stress - when trying to keep on going with the flow - or feelings of guilt - when just not being able to juggle all the different things. In this short piece, I draw on a personal vignette to first theorize how the pandemic crisis leverages the constitution of a masculine subjectivity and, so doing, further increases the ontological struggle in the constitution of a female subjectivity under neoliberal governance. In a second instance, I turn to an email sent by my PhD supervisor to illustrate how a relational ethics, recognizing the openness and generosity in the relation, and collective performativity can lower the ethical burden we face. I conclude by arguing that such an alternative script and the subjectivity fostered through it is urgently needed, not only today in pandemic times, but also in times beyond.Fonds Wetenschappelijk Onderzoek, Grant/Award Number: G.0630.14N; Flemish Fund for Scientific Research, Belgium, Grant/Award Number: G.0630.14 NDe Coster, M (corresponding author), Hasselt Univ, Martelarenlaan 42, B-3500 Hasselt, Belgium.
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The paintings by Angelo de Coster in Piran
No full textThis paper will attempt to shed some light on the current state of knowledge concerning Angelo de Coster, a Venetian painter of Dutch origin, who is known to the art-historian community only as the author of two large canvases - The Miracle of St. George and The Mass of Bolsena from the parish church of St. George in Piran. At the same time the author of this paper wishes to discuss new archive sources and to emphasize the iconographic problems, concerning primarily the rather uncommon depiction of The Mass of Bolsena. Until recently, the known facts about the life of Angelo de Coster were relatively scarce. He came from a Duch family of painters. His father, Pietro de Coster, is well known in comparison to his son and was educated in Amsterdam in the circle of painters like Jan Cossiers and Abraham van Diepenbeeck. Angelo de Coster was born in Venice on the 22nd of November 1680. At present we do not have any information concerning the beginnings of his education. It is likely that his first education as a painter took place in the workshop of his father Pietro. Further on in his career he worked in the workshop of Johann Carl Loth, who was the head of one of the biggest workshops in Venice in the middle of the 17th century, where painters like Daniel Seiter and Johann Michael Rottmayr were educated. At the start of the 18th century Angelo de Coster ventured to Rome to the Accademia di San Luca, where he competed in several competitions, which provided an opportunity for the artists - painters and sculptors - to combine their theoretical knowledge with practical work, In the year 1704 he was commissioned to paint both paintings in Piran. Antonio Alisi postulates that both paintings were commissioned by the members of the fraternity of St. George from Piran. On the basis of archive sources the author of this paper establishes, that the painting The Miracle of St. George was in fact commissioned by the members of the brotherhood of St. George, while The Mass of Bolsena was commissioned by the members of the fraternity of Corpus Christi. The Miracle of St. George depicts a scene from the 21st of July 1343, when this saint saved the city of Piran from the dangerous tempest. The Mass of Bolsena is dated and signed on the base of the capital: MDCCVI / PIN. ANG° DE COSTER VENE. The Mass of Bolsena depicts fatherPeter of Prague as he gives holly mass in the town Bolsena in the church of St. Christina. The painting from Piran depicts the moment of miracle of the eucharisty during the holly mass as blood starts to flow out of the consecrated host and floods the altar cloth. This miracle was a consequence of the priest\u27s doubts concerning the transubstantiation, the moment when bread and vine turn to the body and blood of Christ. Most likely Coster became familiar with this scene during his stay in Rome, when he competed in two competitions at Accademie di San Luca. The Mass of Bolsena is not a commonly depicted motif. The most famous depiction of this scene is probably Rafaelćs depiction on a fresco in the Pope\u27s Palace (1511-1514). The author lists some other examples: frescoes in the cathedral of Orvieto, the paintings by Francesco Trevisiani and the painting by Francesco Robbia. The data regarding the last years of Coster\u27s life are scarce and it is not clear what he did during that time. The question of his opus remains open as wel
Living and dying with cancer
No full textLiving and Dying with Cancer is a powerful and moving account of the experiences of those affected by one of the most common causes of death in the Western world. Through a series of individual narratives based on extensive interviews carried out by the author, the book explores the impact of being diagnosed with cancer on those with the disease and the people around them. It follows the different trajectories of the disease from the very first symptoms, through treatment to death and shows how the experience of the disease and even the way it develops is affected by the social context of the people involved, as well as their own physical and psychological characteristics. This book will be an invaluable resource not only for social scientists and health professionals but also for those coming to terms with the impact of cancer on their own lives
In morte media jubilate [2]: a study of cancer-related pathographies
No full textThis article is the second in a two-part series examining media depiction of individuals who are dying from cancer. The first focused on how television documentary film represents individuals with the disease; this second, and complementary, study explores the development and evolution of textual accounts. It begins by charting the history of auto/biographical books, based on the individual cancer experience, and locates the root of this form of document as far back as the Medieval era. It then draws on appropriate examples to conduct a comparison between models from the mid-nineteenth and late twentieth centuries. The paper argues that, although temporal shifts may appear to exert significant change, these differences are largely superficial, as detailed scrutiny of these texts suggests that the essence and needs of the core self remain unchanged. To afford a comprehensive understanding of why these texts continue to be written and sell well within an aggressive market, the paper presents extracts from interviews held with the author of one of these books, a journalist, the late John Diamond. Drawing upon these conversations as evidence, the paper concludes by suggesting that the socio-temporal conditions prevalent in present-day Western society still lack sufficient strength to countenance an open confrontation with the very real traumas involved in dying
Seductive surfaces: the still life paintings of Anne Vallayer-Coster (1744–1818)
No full textAnne Vallayer-Coster (1744–1818) was one of four académiciennes admitted to the French Royal Academy of Painting and Sculpture in the late eighteenth century. As a woman artist and a still life painter, however, Vallayer-Coster has been largely neglected in art historical scholarship. Vallayer-Coster depicted a range of textures through vivid color and expressive facture, making the viewer conscious of the embodied acts of looking at, touching, smelling and tasting. My dissertation places her work in dialogue within eighteenth-century discourse on sensory experience, thus offering a new, synesthesiac framework for understanding her still life paintings.
This dissertation is organized around the materials that occupied Vallayer-Coster throughout her career. In each chapter, I focus on a few key case studies, exploring formal, material, and sensual implications of each work. My first chapter sketches Vallayer-Coster’s personal and professional life, her social and patronage networks, and the academic context of still life painting in the late eighteenth-century. The second chapter analyzes her three largest paintings, which allegorize art, nature and war, respectively. The third chapter deals with Vallayer-Coster’s representations of food, which are evocative of taste and entangled within the cultural, economic, and philosophic food systems of eighteenth century Paris. Vallayer-Coster’s paintings of guns and game, best understood within the recreational and artistic tradition of the hunt, are the subject of the fourth chapter. In the fifth chapter, I situate Vallayer-Coster’s representations of shells and minerals in the context of conchological collecting practices during this period. In the sixth and final chapter, devoted to Vallayer-Coster’s flower paintings, I probe the relationship between the perceived ‘femininity’ of Vallayer-Coster’s subject matter and painting techniquePh.D.Includes bibliographical referencesby Kelsey Brosna
More Than Prefigurative Politics? Redefining institutional frames to reduce precarity under neoliberal capitalism
No full textThis paper responds to the emergent calls for recovering the role of contentious politics in prefigurative communities to more effectively transform capitalist institutions. Theoretically drawing on the work of Judith Butler, our paper points to the importance of addressing the institutional frames that demarcate who will be (mis)recognized in the public space and which are at the core of politics. Our analysis of the Coop case shows how prefigurative and contentious politics are not incompatible, but can rather strengthen each other in a virtuous circle. When articulated to redefine existing institutional frames, they can reduce precarity. Through this articulation an assembly is constituted where a redefined subject can emerge outside the precarizing frames of neoliberalism. At the same time, our analysis suggests that Coop's political practices do not completely redefine the individualized, calculative neoliberal subject. Project workers embraced the assembly only to the extent that it helped them reduce their self-responsibility and advance their professional and life projects. Overall, these insights advance the literature on grassroots organizations by showing the importance of contentious politics in attempting to redefine the institutional frames, as opposed to solely relying on prefigurative politics outside institutions. Yet they simultaneously confirm the difficulty of redefining the precarious neoliberal subject through collective emancipatory projects.The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article. This research has been funded by Fonds Wetenschappelijk Onderzoek, [G.0630.14N]
The authors would like to thank the associate editor Christine Coupland and the three anonymous reviewers for their constructive feedback throughout the review process. Further, they like to thank Koen Van Laer, Marijke Verbruggen and Sara Louise Muhr as well as their colleagues from SEIN – Identity, Diversity & Inequality Research (Hasselt University) and the Qualcor network for their valuable comments on earlier drafts of this paper. A special word of gratitude goes to all members and staff of Coop who participated in our research and in particular to our contact person for granting the authors access to the Coop community and her support in the data-gathering process
crisscrossing Science Episode 039: Nuclear Winter
No full textIn this episode, Chris Gaiser (professor of biology at Linfield College) and Mike Crosser (professor of physics at Linfield College) invite author John Coster-Mullen to discuss the technology behind the first atomic weapons that were dropped above Japan during World War II. We learn about the design differences between the bombs dropped over Hiroshima and Nagasaki and why these differences mattered.
This episode references content discussed in Episode 024, which explains how nuclear power works
Exploratory Factor Analysis and Test–Retest Reliability of the Sensory Environment and Participation Questionnaire (SEP)
No full textAbstract
Date Presented 3/31/2017
The purpose of this study was to examine internal consistency, factor structure, and test–retest reliability of the Sensory Environment and Participation Questionnaire (SEP–Q) in children with ASD. The SEP–Q measures parents’ perspective of the impact of the sensory environment on participation.
Primary Author and Speaker: Beth Pfeiffer
Additional Authors and Speakers: Wendy Coster, Katherine Bevans
Contributing Authors: Cheenghee Kho</jats:p
Exploring the edge operating space of fusion reactors using reduced physics models
No full textReduced physics models within SOLPS have been used to explore the edge operating space of fusion reactors by building a database of simulations for various input powers and various combinations of impurity puffing. A robust operating window is found for ITER power levels in the ITER sized machine simulated — the window shrinks dramatically at the higher powers explored, though a few operating points are found. Keywords: SOLPS, Divertor modellin
The Coster\u27s Sister
No full textA brother is upset over his sister\u27s heartbreak.https://egrove.olemiss.edu/kgbsides_uk/2476/thumbnail.jp
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