89 research outputs found
Birmingham News sleeve BN0058718
No full textLifestyle / Left to right: Patrick Samway, Martin Hames, Jay Tolson, Susan Nading / This group is looking over one of the books by Walker Percy at a party given for those presenting lectures about the Birmingham author / Party for those giving lectures on Walker Percy in Altamont School series / Home of Alex and Susan Nading / 3095 Salisbury Road / Scribblers need paper print out / No ads, limit of 4 guests / [Work order included
New Caledonian Crows Learn the Functional Properties of Novel Tool Types
No full textPubMed ID: 22194779This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited
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‘Jewish Dionysus’: Heinrich Heine and the Politics of Literature
No full textHeinrich Heine’s body of work presents seeming disparities between poetry and prose, Romantic lyricism and bitter polemics, love and hate, manifesting the complexity of the author and his vision. Another fundamental yet elusive dimension of Heine’s work involves his Jewish background. Hannah Arendt provocatively described Heine as “the only German Jew who could truthfully describe himself as both a German and a Jew,” in part because he recognized their implicit conflict. His ambivalent attitude toward Jews and Judaism and German-Jewish identity is difficult to separate from his contentiousness and humor. Heine has not been taken seriously enough in part because of a disinclination to approach him as a thinker, including what the philosopher Peter Sloterdijk called Heine’s “satirical, polemical... holy nonseriousness.” At stake is a ‘politics of literature’ in the sense of how literature is evaluated or categorized. Our task is to locate Heine’s original voice and his historical and contemporary significance.This study addresses Heine’s work largely in relation to his predecessors, contemporaries, and followers. Heine’s belated dialogue with the poet Johann Wolfgang von Goethe involved their shared opposition to Christianity, nationalism, and Romanticism as a literary movement, as well as their love poetry reflecting the connection between their lives and their work. Heine’s engagement with German philosophy and his “Jewish” pantheism, associated with the philosopher Baruch Spinoza, anticipated Friedrich Nietzsche’s concept “God is dead.” Heine’s Ludwig Börne. A Memorial defined the late liberal, converted Jew Ludwig Börne as a Christian or Jewish, ascetic, moralistic “Nazarene,’ in contrast to Heine and Goethe as pagan, sensual, art- loving “Hellenes.” At stake in part was Heine’s modern resistance as a Jew to others’ interpretations of what is a Jew.Friedrich Nietzsche’s relation to Heine constitutes a particularly important consideration. The philosopher’s early infatuation with and later rejection of the composer Richard Wagner, announced in Nietzsche’s publication and revision of his Birth of Tragedy, can be understood as a turn back to Heine as an unacknowledged and humorous source for several of Wagner’s ideas. Nietzsche’s Dionysian outlook was anticipated by Heine’s iconoclastic response to German Hellenist interpretations of classical antiquity, although Heine combined his embrace of Dionysus with an ostensible late “conversion” to Judaism. Through his entertainingly thought- provoking art, Heine offers perhaps the definitive non-systematic thinker of profound ambivalence, internal conflicts, and radical juxtapositions of ideas, a unique ‘Jewish Dionysus.
Eros, o impulso da vida: uma reflexão sobre arte e sensibilidade em Herbert Marcuse
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Filosofia, Florianópolis, 2011O presente estudo é uma investigação sobre a teoria estética de Herbert Marcuse. A estética em Marcuse está inerentemente atrelada ao estudo do desenvolvimento sócio-histórico da civilização científica e técnica. Segundo ele há uma administração científica das necessidades pulsionais dos seres humanos para a reprodução do status quo, que transforma mercadorias em objetos da libido. Para o autor, a tradição filosófica tratou de separar as faculdades mentais e sensuais dos seres humanos, inferiorizando o que compete aos sentidos em relação ao que compete à razão, criando uma visão bipartida de homem e de mundo. Marcuse busca reunir estas faculdades, que um dia já foram pensadas em conjunto. Desta forma, o autor resgata Eros para pensar uma dimensão estética da existência humana. Cria novos pressupostos para se pensar o retorno à unidade humana e vê na arte um caminho possível para isto se concretizar. Para tanto, vai se apoiar em Freud - pois para ele, Freud percebeu a capacidade dos indivíduos de internalizar e reproduzir inconscientemente a repressão dos impulsos humanos - utilizando conceitos desenvolvidos por ele, tais como princípio de prazer e princípio de realidade para contextualizar sua teoria estética. O filósofo ressalta ainda que o desenvolvimento da tecnologia criou uma racionalidade tecnológica que condiciona ao conformismo e a uma "consciência feliz" gerando uma falsa sensação de bem-estar corroborada pela dessublimação repressiva, característica da sociedade contemporânea, que enfraquece a revolta. O foco de Marcuse está na capacidade da arte de - por estar fundada na fantasia -c onciliar sensibilidade e razão e conduzir-nos para outra realidade, ou outro princípio de realidade, onde o mundo seria predominantemente erótico e prevaleceria a liberdade, a beleza e a felicidade.This study consists of an investigation on Herbert Marcuse's aesthetic theory. In Marcuse, aesthetics is intrinsically related to the study of the socio-historical development of the scientific and technical civilization. According to him, there is a scientific management of human beings' instinctual needs to reproduce the status quo, which turns merchandise into objects of the libido. For this author, the philosophical tradition managed to divide man's mental and sensuous faculties, diminishing the features related to the senses as compared to those related to reason, thus creating a split notion of man and the world. Marcuse wants to bring these faculties back together, which were once thought of as a unity. And so the author relies on Eros to think of an aesthetic dimension of the human existence. He establishes new assumptions in order to be able to outline a return to human unity and finds in art a possible way for this to happen. He seeks Freud for support - to him, Freud realized the ability individuals have to internalize and unconsciously reproduce the repression of human impulses - and uses concepts developed by him, such as pleasure principle and reality principle, to contextualize his aesthetic theory. The philosopher further points out that the development of technology has created a technological rationality that conditions men to conformity and a "happy conscious", thus creating a false sense of well-being confirmed by repressive desublimation, a feature of contemporary society, which weakens rebellions. Marcuse's main idea lies in the ability of art as a fantasy-based matter - to conciliate sensibility and reason and to lead us to another reality, or another reality principle, in which the world would be essentially erotic and freedom, beauty and happiness would prevail
Filmic machines and animated monsters: retelling Frankenstein in the digital age
No full textFrankensteinian monsters have appeared on our screens since the early days of cinema. Indeed, across the history of film we see Mary Shelley’s “hideous progeny” rewritten as alchemical creations, animated corpses, lumbering fiends, robots, cyborgs, replicants, dinosaurs, artificial intelligences and digital constructions. In particular, Shelley’s text shares its speculative depiction of a posthuman future with fantastic and science-fictional cinema of the digital age. At the same time, posthuman bodies are being created by filmmakers. New possibilities in the digital imaging of human presence – from the replacement of actors with computer-generated imagery to the quest for photorealism in digital animation – themselves evoke the Frankenstein tale and consequently make interesting contributions to the evolving Frankenstein myth.
This thesis investigates the retelling of Frankenstein in popular cinema of the digital age. Through close analysis of a series of chosen texts, I examine the figure of the Frankensteinian monster and his/her/its equivalents in today’s popular culture: posthuman figures who negotiate uneasily with the organic world, boundary creatures who both define and unsettle our understandings of human being. I consider the way the tale, its themes and characters have both endured and evolved over time. I also examine the way these new filmic “machines” and animated “monsters” embody crucial problems associated with the technologies that screen them and the media that contain them.
My concern in this project is twofold. Firstly, I seek to map the (changing) relationship between Frankenstein and film. Since the early 1900s, cinema has provided a fertile ground for the retelling of Shelley’s tale. At the same time, cinema itself has always been a sort of Frankensteinian experiment: a means of breathing life into stillness, of constructing and re-constructing human presence, of stitching together fragmented moments to create a semblance of wholeness. In the digital age, this experiment grows and changes: new modes of production are continually being trialled, allowing us to re-create and re-present human presence in new and often bizarre ways. The figure of the Frankensteinian monster confronts and responds to these concerns, embodying and performing the uncanny, spectacular, mechanical, or organic-mechanical nature of screen presence.
Secondly, this thesis reads the Frankensteinian monster as a mythic figure for the digital age. I move towards the assertion that Frankenstein is a tale about the artificial body and its negotiation with a lost or disrupted origin in the organic world, and that this particular problem reverberates strongly in an age of digital representation. The analyses that constitute this thesis contribute to the argument that each time the Frankenstein tale is retold, re-technologised, and re-imagined using new filmic techniques, the problem of the screen body and its troubled origin stories is revisited and complicated
Tavares Bastos: a liberdade política a partir da descentralização
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências Jurídicas, Programa de Pós-Graduação em Direito, Florianópolis, 2012.Nesse trabalho será explorada a ideia de descentralização política e administrativa no Brasil no período do Segundo Reinado, no pensamento político de Tavares Bastos. Esse autor inova ao apresentar uma proposta de reforma que pretende solucionar de forma conjunta os problemas políticos e sociais de sua época. Questões como a educação, a abolição da escravidão, a imigração estrangeira, a liberdade de cabotagem, são alguns dos temas levantados pelo autor nesse sentido. Pretendia propor um modelo de Estado que tinha como principal objetivo o desenvolvimento moral e material do país. Para tanto adotou a via da descentralização política e administrativa, como forma de promoção de uma política voltada para a liberdade, preocupada com a sorte do povo e comprometida com o desenvolvimento do país. Assim, pretendeu-se relacionar os direitos fundamentais defendidos e promovidos pelo autor para demonstrar que a descentralização aparece como aspecto fundamental para o exercício da liberdade e à promoção do progresso. Abstract: In this paper we explore the idea of political and administrative decentralization in Brazil during the Empire, the political thoughts of Tavares Bastos. This author innovates to propose a reform intended to address jointly the political and social problems of his time. Issues such as education, the abolition of slavery, foreign immigration, freedom of cabotage between ports, are some of the issues brought by the author in this regard. He intended to propose a model of state which had as main objective the moral and material development of the country. For both adopted the path of political and administrative decentralization as a way of promoting a political freedom, worried about the fate of the people and committed to the development of the country. Thus, we sought to relate the fundamental rights protected and promoted by the author to demonstrate that decentralization appears as a fundamental aspect to the exercise of freedom and the promotion of progress
“Novas transformações espantosas – o estrato geológico Humano redescoberto”: promovendo o diálogo entre arte e o Antropoceno.
No full textThis paper proposes a confrontation between geology and art, based on the original artistic production made by the author that represents geological concepts related to the new human geological epoch, the Anthropocene, now under discussion. The proposal confrontation draws upon the classical piece of by Henry De La Beche, Awful Changes, from about 1830, which refers to the question of geological time, and also upon Stephen Jay Gould’s Time’s Cycle, Time’s Arrow (1991), which analyzes this picture, and to Jan Zalasiewicz’s The Earth After Us (2008), which deals with the urban geological stratum as it might be found in the future. The art work thus shows the rediscovery of the geological stratum correlative to the “human event” by intelligent “ichthyosauroid” beings who, in a distant geological future, through stratigraphic analysis, observe the particular characteristics of the episode and interpret the culture that produced it. This paper shows how geological concepts can be adequately represented through creative artistic expression, and how classical geological themes may be of interest for contemporary debate on human geological agency.Este trabalho propõe um debate entre geologia e arte, tornado efetivo por uma produção artística original feita pelo autor deste trabalho – e que representa conceitos geológicos relacionados ao tema do Antropoceno, a nova época geológica humana hoje em discussão. A proposta é fundamentada em uma produção clássica de arte geológica (Awful Changes, de Henry De La Beche, feita em 1830), que se refere à questão do tempo geológico, ao livro Time’s Cycle, time’s Arrow, de Stephen Jay Gould (1991), que analisa essa obra, e ainda ao livro The Earth After Us, de Jan Zalasiewicz (2008), que trata do estrato geológico urbano tal como poderia ser encontrado no futuro. O trabalho artístico original mostra, assim, a redescoberta por seres inteligentes “ictiossauroides”, em um futuro geológico longínquo, do estrato geológico correlativo ao “evento humano”, que observam, por meio da análise estratigráfica, as características particulares do episódio e interpretam a cultura que o produziu. Mostra-se, desse modo, como os conceitos geológicos podem ser adequadamente representados por meio da expressão artística criativa, e como temas geológicos clássicos podem ser de interessepara o debate contemporâneo
"What is the American Model Really About? Soft Budgets and the Keynesian Devolution "
No full textThe "American Model" serves as a point of reference in discussions of economic policy around the world especially in Europe; many claim that the American version of the free market represents an ideal type-it is the highest form of capitalism. The author argues, however, that the United States has relied heavily on government intervention in housing, health care, pensions, and education. Not only have these programs been largely successful and popular, they also provide a Keynesian stimulus to spending that help account for the strength of the U.S. economy. Now that the U.S. is in a weak, jobless recovery, the key to restoring growth may lie in the kinds of governmental programs that have helped to sustain and stabilize the U.S. economy in the past.
Leading the African agenda or following the African consensus? South Africa's implementation of the African agenda in the United Nations Security Council
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