2,002 research outputs found
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
Full text linkThe 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
Full text linkIt 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
Usability and acceptability of a website that provides tailored advice on falls prevention activities for older people
Full text linkThis article presents the usability and acceptability of a website that provides older people with tailored advice to help motivate them to undertake physical activities that prevent falls. Views on the website from interviews with 16 older people and 26 sheltered housing wardens were analysed thematically. The website was well received with only one usability difficulty with the action plan calendar. The older people selected balance training activities out of interest or enjoyment, and appeared to carefully add them into their current routine. The wardens were motivated to promote the website to their residents, particularly those who owned a computer, had balance problems, or were physically active. However, the participants noted that currently a minority of older people use the Internet. Also, some older people underestimated how much activity was enough to improve balance, and others perceived themselves as too old for the activities
Ohio impromptu, genre and Beckett on film
No full textSamuel Beckett’s choice of the title Ohio Impromptu to name the play first performed to an audience of academics and scholars at Columbus Ohio in 1981 is one manifestation of its author’s interest in the question of literary genre; more generally, in Beckett’s dramatic works one encounters a meticulous attention to the activity of categorisation, even if the energy is often directed toward the creation of phantom genres for spectral exemplars. This essay concerns itself with Ohio Impromptu in particular because by means of elements specific to this play (including the context in which it was first performed) it comments upon its own very failure to occupy its designated genre co-ordinates (these include its identity both as a play and as an ‘impromptu’). This play, which is so apt to incorporate other genres, however, is presided over by a stage direction which locates it firmly in the theatrical context. It is in its deliberate failure to attend to this stage direction that the Beckett on Film version of the play goes beyond the mere treacherous fidelity that is inevitably a feature of any adaptation. In arguing this, the essay analyses the foregrounding in the play of questions that can be said to pertain to genre (in several senses). Its more specific intention is to suggest that, via a combination of casting and special effects, the adaptation succeeds not only in cancelling the critical reflection on the ‘genre gesture’ that is lodged in Ohio Impromptu, but also in eradicating the very disjunction between Reader and Listener upon which the play depends
Disputatio Theologica De Libris Scripturae Apocryphis
No full textQuam Sub Praesidio ... Dn. Johannis Deutschmann ... subiicit M. Samuel Lange/ Fürsteberg. Lusat. A. R. S. MDCLXXXII. d. Martii ...Anderer Druck als 39:133057T (dort Verfasserangabe ... subiicit Author & Respondens M. Samuel Lange/ ...
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
Edward M. Curr and the Tide of History
No full textEdward M. Curr (1820–89) was a pastoralist, horse trader, stock inspector, Aboriginal administrator, author and ethnologist. A prominent figure in the history of the Colony of Victoria, he rose to a senior position in the public service and authored several influential books and essays. He is best remembered for his nostalgic memoir, Recollections of Squatting in Victoria (1883), which has become a standard historical source.
This book is the first comprehensive biography of Curr and explores both his life and legacy. In particular, it considers his posthumous influence on the Yorta Yorta native title case (1994–2001), when his written account of the Yorta Yorta ancestors played a key role in the failure of the claim. By exploring Curr’s interactions with Aboriginal people—as a pastoralist and Aboriginal administrator—this book advocates a more nuanced, critical, and historically informed interpretation of Curr’s ethnological writings than was evident in the Yorta Yorta cas
Poética da penúria: a ator beckettiano
Full text linkTese (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
J. M. Coetzee: en el callejón de Samuel Beckett
No full textEl autor muestra la influencia de Samuel Beckett en la obra del escritor sudafricano. Analiza las dos primeras novelas de J. M. Coetzee, Dusklands (1974) e In the Hearth of the Country (1977), para explicar cómo sus protagonistas comparten el solipsismo de los personajes becketianos; sin embargo, su destino cambia bajo la lógica del Colonialismo. A partir de este grado cero de la escritura, los personajes del novelista sudafricano inician un viaje que, en términos filosóficos, va de la parodia del ego cartesiano hacia el horizonte de reconocimiento hegeliano.The author shows the influence of Samuel Beckett's work in the oeuvre of the South African writer. He analyzes the first two novels of J. M. Coetzee, Dusklands (1974) and In the Hearth of the Country (1977) in order to explain how their protagonists share the solipsism of Beckett's characters; however, their fate changes under the logic of colonialism. From this zero degree of writing, the characters of the South African novelist begin a journey that, in philosophical terms, takes them from the Cartesian ego towards the horizon of Hegelian recognition
Etnografía en el museo. Una experiencia desde la Montaña de Guerrero. 58 Tercera época (2014) abril-julio. Gaceta de Museos. INAH: 75 años. Instantes en la memoria
No full textBarabas, Alicia, Dones, dueños y santos: ensayo sobre religiones en Oaxaca, México, Porrúa/INAH-Conaculta, 2006.Güemes, Lina Odena, “La fotografía”, en Carlos García M., La antropología en México, México, INAH, 1988, pp. 611-634.Horcasitas, Fernando y Marion Oettinger, The Lienzo of Petlacala. A Pictorial Document from Guerrero, Mexico, Filadelfia, The American Philosophical Socie-ty, vol. LXXII, parte 7, 1982.Jiménez P., Blanca M. y Samuel L. Villela F., Historia y cultura tras el glifo. Códices de Guerrero, México, INAH, 1998.Rodríguez Hernández, Georgina, “Recobrando la presencia. Fotografía indigenista mexicana en la Exposición Histórico-Americana de 1892”, en Cuicuilco. Revista de la Escuela Nacional de Antropología e Historia, vol. 5, núm. 13, mayo-agosto de 1998, pp. 123-144.Villela F., Samuel L., “Los ‘San Marquitos’ del Museo Xipe Tótec”, en Gaceta de Mu-seos, tercera época, núm. 40, febrero-mayo de 2007, pp. 8-11
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