1,720,961 research outputs found
Investigating the Extinction Crime Scene: Guido Morselli's Eco-political Manifesto and the Forensic Gaze of the Anthropocene
No full textIn this essay, I argue that the novel Dissipatio H.G. is constructed as a (geological) crime scene in which the protagonist and the reader participate in a forensic analysis of the world without us. In this context, the narrating subject survives in order to be the ultimate witness, the last human that can attest to the ecological crimes of mankind and who willingly accepts extinction as punishment for the entire species. I believe that this deep-time archeological investigation foreshadows the forensic logic of the Anthropocene (Weizman 2017; Yusoff 2016; 2018; Demos 2019; Luisetti 2020) and allows us to read Morselli's final work as one of the origin stories of the Anthropocenic paradigm
Testimoni dei macelli. Esseri umani e animali nella poesia di Ivano Ferrari //Witnesses of the Slaughters. Humans and Animals in Ivano Ferrari’s Poetry // Testigos de las matanzas. Humanos y animales en la poesía de Ivano Ferrari
No full text Quando le rappresentazioni e le simbologie animali ridimensionano e mettono in discussione lo statuto umano, ci si trova di fronte al passaggio dal teriomorfismo alla questione animale. Ciò significa che, da semplici tropi, le figure animali divengono operatori epistemologici che forzano un ripensamento dell’antropocentrismo e mettono in luce i limiti dello specismo. Le raccolte di poesie Macello (2004) e La Morte Moglie (2013) di Ivano Ferrari sono, all’interno della letteratura italiana, tra i più recenti ed intensi esempi di questo passaggio dal teriomorfismo alla questione animale. Queste poesie costituiscono un diario in presa diretta del periodo che Ivano Ferrari ha trascorso come operaio al mattatoio di Belfiore, presso Mantova. La sua scrittura testimonia le tensioni presenti nel rapporto umano-animale quando questi, fuori e dentro il mattatoio, diventano rispettivamente carnefice e vittima, svelando anche i profondi legami tra crudeltà verso l’animale (interspecifica) e crudeltà verso l’umano (intraspecifica). I componimenti di Ferrari mostrano inoltre come, proprio nell’inumanità dello spazio del mattatoio, sia possibile un contatto con l’animale che riduce la distanza tra specie causata dall’antropocentrismo. Abstract When animal representations and symbols reconfigure and challenge human status, we are then confronted with a transition from theriomorphism to the so-called Animal Question. This means that, from simple tropes, animal figures become epistemological operators that force a reconsideration of anthropocentrism and highlight the limits of speciesism. Ivano Ferrari’s poetry collections Macello (2004) and La morte moglie (2013) are, within Italian literature, among the most recent and intense examples of this shift from theriomorphism to the Animal Question. The poems constitute a type of diary of the period Ferrari spent working in the abattoir in Belfiore, near Mantua. His writing bears witness to the tensions present in the relationship between humans and animals when, inside and outside of the slaughterhouse, they become respectively executioner and victim, revealing even the profound links between cruelty to the animal (interspecific) and cruelty to the human (intraspecific). Ferrari’s compositions also show how, precisely in the inhumane space of the slaughterhouse, contact with the animal is possible, contact that reduces that distance between species caused by anthropocentrism.Resumen Cuando las representaciones y símbolos de animales reconfiguran y cuestionan el estatus de lo humano, nos enfrentamos a la transición del teriomorfismo a la llamada Cuestión Animal. Esto significa que las figuras animales pasan de ser simples tropos a operadores epistemológicos que fuerzan una reconsideración del antropocentrismo y resaltan los límites del especismo. Los poemarios Macello (2004) y La morte moglie (2013) de Ivano Ferrari se encuentran, dentro de la literatura italiana, entre los ejemplos más recientes e intensos de este cambio del teriormofismo hacia la Cuestión Animal. Los poemas constituyen un tipo de diario del periodo que Ferrari pasó trabajando en el matadero en Belfiore, cerca de Mantua. Su escritura da testimonio de las tensiones contemporáneas en la relación entre humanos y animales cuando, dentro y fuera del matadero, estos se vuelven verdugo y víctima respectivamente, revelando inclusive los profundos vínculos entre crueldad hacia los animales (inter-específico) y crueldad al humano (intra-específico). Las composiciones de Ferrari también muestran cómo, precisamente en el espacio inhumano del matadero, el contacto con lo animal es posible, un contacto que reduce la distancia entre las especies causado por el antropocentrismo
The camera-animot: Speculations on Matteo Garrone’s Cinematic Gaze
No full textThis essay analyzes three specific filming techniques employed by Matteo Garrone: camera obstruction in Gomorrah (2008), shallow depth of focus in First Love (2004), and non-human point of view (POV) in The Embalmer (2002). I argue that these uncommon camera framings and movements produce alternative, uncanny, more-than-human points of view that question the privilege, centrality, and independence of the human perspective. These techniques are also essential to understanding central themes in Garrone’s oeuvre, in particular the expressionist tension of his cinema that he employs to expose the co-relationality of any life experience
Testigos de las matanzas. Humanos y animales en la poesía de Ivano Ferrari
No full textQuando le rappresentazioni e le simbologie animali ridimensionano e mettono in discussione lo statuto umano, ci si trova di fronte al passaggio dal “teriomorfismo” alla “questione animale”. Ciò significa che, da semplici tropi, le figure animali divengono operatori epistemologici che forzano un ripensamento dell’antropocentrismo e mettono in luce i limiti dello specismo. Le raccolte di poesie “Macello” (2004) e “La Morte Moglie” (2013) di Ivano Ferrari sono, all’interno della letteratura italiana, tra i più recenti ed intensi esempi di questo passaggio dal teriomorfismo alla questione animale. Queste poesie costituiscono un diario in presa diretta del periodo che Ivano Ferrari ha trascorso come operaio al mattatoio di Belfiore, presso Mantova. La sua scrittura testimonia le tensioni presenti nel rapporto umano-animale quando questi, fuori e dentro il mattatoio, diventano rispettivamente carnefice e vittima, svelando anche i profondi legami tra crudeltà verso l’animale (interspecifica) e crudeltà verso l’umano (intraspecifica). I componimenti di Ferrari mostrano inoltre come, proprio nell’inumanità dello spazio del mattatoio, sia possibile un contatto con l’animale che riduce la distanza tra specie causata dall’antropocentrismo.When animal representations and symbols reconfigure and challenge human status, we are then confronted with a transition from theriomorphism to the so-called Animal Question. This means that, from simple tropes, animal figures become epistemological operators that force a reconsideration of anthropocentrism and highlight the limits of speciesism. Ivano Ferrari’s poetry collections “Macello” (2004) and “La morte moglie” (2013) are, within Italian literature, among the most recent and intense examples of this shift from theriomorphism to the Animal Question. The poems constitute a type of diary of the period Ferrari spent working in the abattoir in Belfiore, near Mantua. His writing bears witness to the tensions present in the relationship between humans and animals when, inside and outside of the slaughterhouse, they become respectively executioner and victim, revealing even the profound links between cruelty to the animal (interspecific) and cruelty to the human (intraspecific). Ferrari’s compositions also show how, precisely in the inhumane space of the slaughterhouse, contact with the animal is possible, contact that reduces that distance between species caused by anthropocentrism.Cuando las representaciones y símbolos de animales reconfiguran y cuestionan el estatus de lo humano, nos enfrentamos a la transición del teriomorfismo a la llamada Cuestión Animal. Esto significa que las figuras animales pasan de ser simples tropos a operadores epistemológicos que fuerzan una reconsideración del antropocentrismo y resaltan los límites del especismo. Los poemarios “Macello” (2004) y “La morte moglie” (2013) de Ivano Ferrari se encuentran, dentro de la literatura italiana, entre los ejemplos más recientes e intensos de este cambio del teriormofismo hacia la Cuestión Animal. Los poemas constituyen un tipo de diario del periodo que Ferrari pasó trabajando en el matadero en Belfiore, cerca de Mantua. Su escritura da testimonio de las tensiones contemporáneas en la relación entre humanos y animales cuando, dentro y fuera del matadero, estos se vuelven verdugo y víctima respectivamente, revelando inclusive los profundos vínculos entre crueldad hacia los animales (inter-específico) y crueldad al humano (intra-específico). Las composiciones de Ferrari también muestran cómo, precisamente en el espacio inhumano del matadero, el contacto con lo animal es posible, un contacto que reduce la distancia entre las especies causado por el antropocentrismo
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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