1,033 research outputs found
Burke’s “Revolutionary Book”: Conservative Politics and Revolutionary Aesthetics in the Reflections
No full textThis essay explores the seemingly disjointed relationship between politics and aesthetics in Burke’s Reflections on the Revolution in France (1790), questioning why the first articulation of conservative traditionalism would be announced in a shockingly new, experimental style. One of Novalis’s aphorisms suggests that Burke’s Reflections inverts common assumptions about the relationship between politics and aesthetics: “Many antirevolutionary books have been written for the Revolution. But Burke has written a revolutionary book against the Revolution.” As Novalis observed, Burke’s Reflections defies the formal conventions of political prose; Burke outlines his defense of traditional British institutions in an idiom that approaches the excesses of modernist montage in its patchwork of genres. His unsystematic style juxtaposes and blends, often in seemingly incongruous ways, diverse literary genres and rhetorical forms: the legalistic-latinate idiom, the captivity narrative, the biblical epistle, the political tract, the gothic novel, enthusiastic prophecy, chivalric romance, and tragedy. While these disparate literary forms erupt unpredictably in the Reflections, they do so in a fragmented, at times even grotesque manner, revealing what Burke himself admitted, that his conservative project is premised on an invented tradition devoid of all referential consistency and stability. In the face of an economy that was changing the very nature of value as such, Burke aesthetically revives fragments of tradition from the past and arranges them in an anti-utilitarian way that might conserve what he understood to be their pre-capitalist, non-relative value
BUENOS Y MALOS EN "AMAR DESPUÉS DE LA MUERTE" DE PEDRO CALDERÓN DE LA BARCA Un nuevo enfoque sobre el conflicto
No full textThe aim of this work is identifying new implications and prerogatives in the characters and
scenes of Amar después de la muerte in order to question the widely accepted pro-Moor attitude of Pedro
Calderón de la Barca. A comparative approach with another comedia by the same author has been adopted.
La niña de Gómez Arias is located in the same geographic area, the Alpujarras, in a historical period
characterized by conflicts between Christians and Muslims as well. First, the specific historical context of
the action of the two works is introduced; secondly, the analysis of the Arabic elements and the Christian
and morisco characters in Amar después de la muerte is carried out. Lately, a new hypothesis about the
dramatist’s posture in relation the morisco’ cause is introduced. Extra-literary factors which may have
affected the choice of the set and the themes of Amar después de la muerte have been investigated as well
Electrokinetics of Scalable, Electric-Field-Assisted Fabrication of Vertically Aligned Carbon-Nanotube/Polymer Composites
No full textComposite thin films incorporating vertically aligned carbon nanotubes (VACNTs) offer promise for a variety applications where the vertical alignment of the CNTs is critical to meet performance requirements, e.g., highly permeable membranes, thermal interfaces, dry adhesives, and films with anisotropic electrical conductivity. However, current VACNT fabrication techniques are complex and difficult to scale up. Here, we describe a solution-based, electric-field-assisted approach as a cost-effective and scalable method to produce large-area VACNT composites. Multiwall-carbon nanotubes are dispersed in a polymeric matrix, aligned with an alternating-current (AC) electric field, and electrophoretically concentrated to one side of the thin film with a direct-current (DC) component to the electric field. This approach enables the fabrication of highly concentrated, individually aligned nanotube composites from suspensions of very dilute (Φ = 4 X 10-4 volume fraction. We experimentally investigate the basic electrokinetics of nanotube alignment under AC electric fields, and show that simple models can adequately predict the rate and degree of nanotube alignment using classical expressions for the induced dipole moment, hydrodynamic drag, and the effects of Brownian motion. The composite AC + DC field also introduces complex fluid motion associated with AC electro-osmosis and the electrochemistry of the fluid/electrode interface. We experimentally probe the electric-field parameters behind these electrokinetic phenomena, and demonstrate, with suitable choices of processing parameters, the ability to scalably produce large-area composites containing VACNTs at number densities up to 1010 nanotubes/cm2. This VACNT number density exceeds that of previous electric-field-fabricated composites by an order of magnitude, and the surface-area coverage of the 40 nm VACNTs is comparable to that of chemical-vapor-deposition-grown arrays of smaller-diameter nanotubes.Peer reviewe
<scp>Simon Kövesi</scp> and <scp>Scott McEathron</scp>, <i>New Essays on John Clare: Poetry, Culture and Community</i>
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Anthropomorphism in the Anthropocene
No full textAbstract
Leanne Allison and Jeremy Mendes’s interactive documentary Bear 71 (2012) depicts the “story of a female grizzly bear monitored by wildlife conservation officers from 2001–2009” in Banff National Park. The film’s visuals are composed of fragments from critter-cam footage, which alternate with a minimalist interface: a grid populated with dots signifying other animals and plants living in Banff. This essay argues that Bear 71 uses two strategies to reframe the data-driven discourse of wildlife management. First, the anthropomorphized narrative of Bear 71 reframes wildlife management data through attentiveness to the experience of a single grizzly bear, which functions as a counterdiscourse to the dominant framing of wildlife data as aggregate information about a species population. Second, the visual strategy of the minimalist interface prompts the viewer/user to navigate within a multispecies grid that gestures toward understanding animal endangerment as a problem not on the level of species but rather within a diverse multispecies assemblage that, crucially, includes humans. Although the eponymous Bear 71 dies, the narrative refuses closure because her daughter and other animals continue to move across the interface after the narrative ends. Bear 71 offers a model of “becoming-with” endangered animals through our attunement to both their singular stories and multispecies assemblages. It further models how the environmental humanities can be employed to rearticulate scientific data as innovative multispecies stories.</jats:p
8. William Cobbett, ‘Resurrection Man’: The Peterloo Massacre and the Bones of Tom Paine
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