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A Century of Humanics and Humanism at Springfield College - Dr. Jean F. Ross (c. 1985)
No full textThis document titled “A Century of Humanics and Humanism at Springfield College” is the Humanics Lecture that was given at Springfield College by Distinguished Professor of Humanics Dr. Jean F. Ross on May 5, 1985. This was an especially important year, as it was the Centennial of Springfield College. Dr. Ross joined the faculty as a Teaching Fellow in 1960 and quickly established herself as an unusually hardworking, student centered, able teacher even on a faculty characterized by those traits. She later became a Professor of Biology at Springfield College and taught for 25 years. In her lecture Ross makes it a point of looking at Humanics from a scientist’s point of view, and how sciences are essential to understand one side of the triangle, the body, to explore the biological and chemical basis of the actions of the mind, and to contribute to the survival of the spirit of man. She goes on to question the survival of the Humanics philosophy after 100 years and how one confirms this. Ross believes that the concept of volunteerism, which exists outside the curriculum, is an important means of expression of the Humanics philosophy at Springfield College. Ross shares the results of her modest survey of volunteer service of students at the College. Out of 497 responses (24% of the population completed the survey), only 214 could be used for analysis. The total number of hours donated by these persons was 94,904 and the average per person per year was 443 hours. The monetary value, at minimum wage, of that work is $317,928, a substantial contribution to the well-being of the College and the community. Based off of these results, Ross “believes that at the close of our first century of existence, we are today as fully committed to the humanics ideal as those who have gone before us, even as the societal needs which are being addressed today are surely more disparate and demanding than those of the past. Yes, once again, folks, Humanics is alive in '85!!” Next, Ross talks about Humanics in Springfield’s Second Century. Select topics include full partnership for women and increasing both minority and female participation at the College. Ross also believes that more time, effort, and money needs to be put into faculty development. Ross leaves the audience by challenging them to dream some of their own ideas and work together as a humanics-oriented community to make this happen.
Humanics is a word that has a special meaning in the history and philosophy of Springfield College, as well as in the college’s motto of “Spirit, Mind, and Body.” The Oxford English Dictionary defines Humanics as, “the subject or study of human affairs or relations, especially of the human element of a problem or situation as opposed to the mechanical.” In 1962, Dr. Glenn Olds, President of Springfield College at the time, began to wonder why this name was given to the intended philosophy of the college by Dr. Laurence Locke Doggett, Springfield College’s first full-time president. Olds acknowledged that the practices of the faculty were in large part consistent with the Humanics philosophy, but he believed that a more self-conscious application would improve chances of its continuity and survival. To ensure this, a Distinguished Professor of Humanics position was created at the college, first filled by Dr. Seth Arsenian from 1966-1969. The purpose of this position was to catalyze a renewal of consciousness in the philosophy. This was done by annually mandating the Distinguished Professor of Humanics to give a Humanics lecture on the definition of Humanics and what the concept means to them. Arsenian started this tradition in 1967 with his speech titled, “The Meaning of Humanics,” in which he described the concept as a set of ideas, values, and goals that make our college distinct from other colleges and make commitment and unity toward commonly sought goals possible
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
F. Brunot (1860-1937) : la fabrication d'une mémoire de la langue
No full textJean-Claude Chevalier : F. Brunot (1860-1938) : the Fabrication of a Memory of the French Language
This article studies how the French linguist F. Brunot — author of the huge and famed History of the French language — was educated and how his career developed. It shows the way his conception of the history of the French language as memory was strongly determined not only by the French academic tradition, but also above all by the future Brunot envisioned for French society.Chevalier Jean-Claude. F. Brunot (1860-1937) : la fabrication d'une mémoire de la langue. In: Langages, 28ᵉ année, n°114, 1994. Mémoire, histoire, langage, sous la direction de Jean-Jacques Courtine. pp. 54-68
Authorship in the Interstices of History, Biography, Reality and Memory: Histoire(s) du cinéma and Cabra Marcado para Morrer
Get PDFEste artigo contrasta Histoire(s) du cinéma de Jean-Luc Godard e Cabra Marcado Para Morrer de Eduardo Coutinho, estão engajadas com a questão da autoria no cinema. Enquanto a imagem de Godard enfatiza a capacidade que tem um filme de transmitir a visão de mundo pessoal de um artista, a presença de Coutinho na tela funciona menos como um meio de subjetivar a obra do que como um catalizador instigando cetas reações nos "atores" filmados
Subjectivity, gesture and language consciousness in the early prose fiction of Jean Genet (1910-1986).
No full textPhDThis thesis interprets the language of the self in both editions of Jean Genet's five works
of early prose fiction. Its appendices present the first list of the 65000 words of excisions
and variants between the subscribers' (1943-48) and public editions (1949-53).
Many critics have interpreted Genet's works in terms of his life, applying to them
a reductive notion of the self. Subjectivity in this thesis is a broader concept which
addresses the (self-) representation of narrators and characters. I apply close textual
analysis to two types of passage (relating to gestures and language consciousness
respectively) which represent subjectivity in non-specular language (where one thing does
not clearly reflect or refer to another).
I use the ubiquitous 'geste' as the guide-word for my analysis of gesture since its
usage is similar in each of the texts considered. Gestures are of course mediated by
language in Genet's texts but, surprisingly, are only partially represented in visual terms.
Consequently, gestures do not serve to consolidate subjectivity and resist attribution to
individual characters. It is rather in the interpretation of gestures that narrators and
characters who both perform and interpret gestures can negotiate the assigning of
meaning and the concomitant firming tip of subjectivity.
Language consciousness is a textual speculation on the production and reception
of a passage or text and each of Genet's texts demonstrates different interactions between
such speculations and the representation of subjectivity. My emphasis on language
consciousness helps to elucidate tile structure of the prose text (narrative frames, for
example) and its relation to other genres (literary criticism and poetry, for example).
I conclude that in Genet's texts innovative language represents (and sometimes
fails to represent) plural subjectivity in complex ways. I argue that the interdependence
of these three aspects (language, representation and subjectivity) presents a new paradigm
for understanding Genet's texts. Furthermore, I outline in my conclusions how it is
possible to apply a comparative analysis of these aspects to other works such as Martin
Heidegger's Zur Seiqfrage (1955)
Cheralyn Carroll, soprano; Ross Martin, piano; Sean Carroll, clarinet
Get PDFCheralyn Carroll, soprano; Ross Martin, piano; Sean Carroll, clarine
Jean-Luc Godard and the other history of cinema
Get PDFJean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras.
After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001)
PESI - a taxonomic backbone for Europe
Get PDFThis is an open access article distributed under the terms of the Creative Commons Attribution License (CC BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
The attached file is the published version of the article.NHM Repositor
Da ideia de infância em Jean-Jacques Rousseau ou do "sono da razão"
Get PDFDissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Ciencias da Educação. Programa de Pós-Graduação em EducaçãoOs pensamentos expostos no século XVIII pelo genebrino Jean-Jacques Rousseau influenciaram de maneira decisiva a forma como o Ocidente passou a perceber a infância. Este autor provocou uma verdadeira divisão de águas ao publicar Emílio ou Da Educação (1762). Com este feito, mais que balançar os alicerces educacionais da época, ele delega à criança um lugar no mundo. A infância passa a ter um valor em si mesma, e a ser vista como etapa fundamental na constituição humana. Ao destacar este período da vida, além de romper definitivamente com o que vigorava em seu tempo, no qual a criança era tida como um erro passageiro - um infante (aquele que não fala); um "adulto em miniatura"; ou mero objeto de paparicação e prazer - Jean-Jacques cria uma ótica inovadora de conceber a criança. Dizia que: "A natureza quer que as crianças sejam crianças antes de serem homens." Ao elaborar um conceito de infância, Rousseau afirma que "a infância é o sono da razão". O que nos surpreende devido este autor ter vivido em pleno "Século das Luzes", justamente quando a razão era evocada como o guia seguro para o pensamento e para ação em todas as idades. Ao contrário do que possa parecer, Rousseau não desmerece o período infantil, associando-o à escuridão ou a inferioridade primeira da humanidade. Ele é considerado o "inventor da infância". Retomar pensamentos que versam sobre essas ideias rousseaunianas, inaugurais da concepção moderna de Infância, por meio de pesquisa teórica, é o objetivo traçado aqui, com intuito de avançar nas compreensões estabelecidas em torno das contribuições de Jean-Jacques Rousseau para temática em exame.The thoughts exposed in the eighteenth century by the genevan, Jean-Jacques Rousseau, influenced in a decisive way the West has to realize his childhood. This author has caused a real division of the waters or publish Emile, or On Education (1762). With this done more than shake the foundations of educational time, it leaves the child a place in the world. The child is given a value in itself, and be seen as key step in the human constitution. By highlighting this period of life, and the final break with that which prevailed in his time, in which the child was seen as a mistake passenger - an infant (who does not speak), a "miniature adult" or mere object of pampering and pleasure - Jean-Jacques creates a new perspective to conceive a child. He said: "Nature wants children to be children before being men." In developing a concept of childhood, Rousseau says that "childhood is the sleep of reason". What surprises us because this author has lived in the middle of "Age of Enlightenment", just when the reason was mentioned as the sure guide for thought and action in all ages. Contrary to what may seem, Rousseau does not diminish the infantile period, associating him to the darkness or the inferiority of humanity first. He is considered the "inventor of childhood." Resume thoughts that talk about these ideas Rousseau, the inaugural modern conception of childhood, through theoretical research, stroke is the goal here, with the aim to advance the understandings established around the contributions of Jean-Jacques Rousseau to thematic examination
Jean Tardieu, père et artiste. Entretien avec Alix Turolla-Tardieu
No full textInterview of Alix Turolla-Tardieu, the daughter of the poet and author Jean Tardieu
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