107 research outputs found
Composer dans l’ombre de Darmstadt (1987)
No full textDans cet article rédigé en 1987 et publié en 1996 dans le recueil de texte intitulé Musik als existentielle Erfahrung, le compositeur Helmut Lachenmann porte un regard critique et autocritique sur l’expérience des cours d’été de Darmstadt, depuis le début des années 1950 jusqu’au début des années 1980.Décennie par décennie, il dégage les divers courants et tendances qui ont marqué l’histoire de Darmstadt en explicitant les paradoxes parfois insolubles engendrés par l’attitude avant-gardiste dont les cours d’été avaient fourni le modèle autour de 1950. À chaque fois, il se réfère à des expériences vécues, faisant intervenir Luigi Nono (son professeur autour de 1960), Dieter Schnebel, John Cage ou Karlheinz Stockhausen. Partisan d’un « structuralisme dialectique », l’auteur spécifie enfin sa position — en référence au festival de Donaueschingen de 1980 et à un texte de 1982, « Affect et aspect » — par rapport à celles de Wolfgang Rihm et de Walter Zimmermann, ainsi que d’autres compositeurs ayant (ou non) tenté de théoriser leur relation à la tradition et à la subjectivité.Written in 1987 and published in a collection entitled Musik als existentielle Erfahrung in 1996, this article by composer Helmut Lachenmann takes a critical and self-critical look at the experience of the Darmstadt summer courses, between the early 1950s and the beginning of the 1980's. Decade by decade, he reveals the various currents and tendencies that marked the history of Darmstadt, uncovering the sometimes insoluble paradoxes engendered by the avant-garde attitude spawned by the Darmstadt model around 1950. He tells of his experiences with Luigi Nono (his teacher in the early 1960's), Dieter Schnebel, John Cage, and Karlheinz Stockhausen. As a partisan of "dialectic structuralism", the author clarifies his own position—with reference to the 1980 Donaueschingen festival and a 1982 text entitled "Affekt und Aspekt"—in relation to those of Wolfgang Rihm and Walter Zimmermann, as well as other composers, some of whom attempted to theorize their relationship to tradition and subjectivity
Die Stadt der träumenden Bücher: a study of metaficcion based on Walter Moers´ Fantasy
No full textDie Stadt der träumenden Bücher (A cidade dos livros sonhadores) é um extenso romance escrito em 2004 por Walter Moers. A narrativa se passa no mundo fantástico de Zamonien um lugar habitado por dragões e outras criaturas curiosas e concentra-se na jornada do protagonista Hildegunst von Mythenmetz, um jovem dragão-escritor, o qual encontra um misterioso texto, que seria, segundo sua opinião, a melhor obra já escrita no continente fictício. Ele sai, então, à procura do autor desconhecido daquelas palavras. Sua busca o leva a Buchhaim, a cidade dos livros sonhadores, onde muitas aventuras mas também perigos o aguardam. Moers finge ser apenas o tradutor da língua zamônica e o ilustrador da biografia de Hildegunst von Mythenmetz, que seria o verdadeiro autor de Die Stadt der träumenden Bücher. Logo após a publicação do romance, os fãs de Moers ocuparam-se em decifrar charadas que fazem referência a obras literárias e autores conhecidos. O livro tornou-se, então, uma narrativa fantástica sobre a literatura e o mundo literário. O presente trabalho pretende analisar a estrutura narrativa de Die Stadt der träumenden Bücher, especialmente o aspecto da metaficcionalidade. Para tanto, será apresentado, primeiramente, um breve resumo do enredo. Em seguida, ocuparemo-nos com as principais características do gênero da Fantasy, procurando encontrar exemplos no romance dos aspectos constitutivos desse gênero. Por fim, serão analisados diferentes elementos metaficcionais encontrados na obra, com o intuito de demonstrar o jogo que o autor faz com a ficcionalidade. O romance de Moers lida de forma irônica e parodística com a questão do limite entre ficção e realidade, que ocupa parte da crítica literária. Essa temática desenvolve-se em um jogo, no qual um dinossauro é autor de um bestseller e concede entrevistar à mídia alemã (FAZ e ZDF). O humor é, sem dúvida, a característica mais marcante de Walter Moers. O principal objetivo desse trabalho consiste, por fim, em investigar a relação entre a metaficcionalidade e o sucesso que o romance encontrou entre um público tão diversificado.Die Stadt der träumenden Bücher (The city of dreaming books) is a novel written in 2004 by Walter Moers. The narrative takes place in the fantastic world of Zamonien a place inhabited by dragons and other curious creatures and focuses on the journey of the protagonist Hildegunst von Mythenmetz, a young dragon-writer, who finds a mysterious text, which would be, according to his opinion, the best book ever written on the fictional continent. He starts a journey looking for the unknown author of those words. His quest leads him to \"Buchhaim\", the city of dreaming books, where many adventures but also dangers wait for him. Moers pretends to be only the translator of the \"zamonia language\" and the illustrator of the biography of Hildegunst von Mythenmetz, which would be the true author of Die Stadt der träumenden Bücher. Shortly after the publication of the novel, fans of Moers tried to decipher the riddles of literary pieces and unknown authors references within the story. The book became, then, a fantastic narrative about the literature and the literary world. This work intends to analyze the narrative structure of Die Stadt der träumenden Bücher, especially the aspect of metafictionality. Therefore, will be presented, firstly, a brief resume of the story. Then we will analyze the main characteristics of the genre of Fantasy, trying to identify examples in the novel which establishes this genre. Finally, we will analyze distinctive metafictional elements found in the work, in order to demonstrate the tricks that the author makes with fictionality. Moers\'s novel deals in an ironic and parodistic way with the question of the boundaries between fiction and reality, which occupies part of the literary critic. This theme takes its course in a game in which a dinosaur is the author of a best-seller and agrees to be interviewed by German media (FAZ and ZDF). The humor is undoubtedly the most remarkable characteristic of Walter Moers. The main purpose of this work is to investigate the connections between the metafictionality and the huge success of the novel, which reached such a diversified audience
Copiapoa gigantea Backeb., Jahrb. Deutsche Kakt. Ges.
No full textCopiapoa gigantea Backeb., Jahrb. Deutsche Kakt. Ges. 1: 104. 1936. Type:—Not designated. = Copiapoa eremophila F. Ritter, Kakt. Südam. 3: 1104–1105. 1980. Type:— CHILE, östl. Paposo, s.d. [1956], Ritter 208b [holotype SGO124843, (corpus), areoles, spines]. Notes: —Backeberg (1936: 104) gave a vague type locality (“ Chile: Provinz Antofagasta, auf nachts oft nebelfeuchten Berggipfeln” = “ Chile: Province Antofagasta, on mountain peaks that are often damp at night”) in the protologue of his Copiapoa gigantea. Later, the same author (Backeberg 1977: 107) specified the locality as “above Paposo”. Ritter (1980: 1100) accepted Backeberg’s species for plants occurring east of Paposo area (“Gegen die Wüste des Hinterlandes wächst sie aber nur gegen Süden, während sie im gleichen Klima und in gleicher Höhenlage etwas nördlicher, nämlich östlich von PAPOSO...” = “Towards the desert of the hinterland, however, it [Copiapoa gigantea var. gigantea] only grows towards the south, while in the same climate and at the same altitude it grows a little further north, namely east of PAPOSO...”) and proposed C. haseltoniana Backeb. at variety rank of C. gigantea (Ritter 1980: 1101) for plant occurrring in “... nördlich Paposo an der Küste...” (= “... north of Paposo on the coast...”). Concerning Copiapoa eremophila, Ritter (1980: 1105) reported “Typusort. östlich von PAPOSO am Rand der Vollwüste als einzige noch wachsende Kakteenart; nur von hier bekannt. Von mir entdeckt 1956. Nr. FR 476 (=208a)”, the “Typusort” can be considered as “ holotype ”. We traced this specimen at SGO. Its morphology corresponds to the current concept of C. gigantea (see e.g., Larridon et al. 2015). The “current” concept of Copiapoa gigantea (based on molecular evidence) is Larridon 2015. There are no other works occupying with the status of C. gigantea. Former concepts treated C. gigantea as a synonym of C. cinerea subsp. haseltonia (Hunt et al., Hoffmann & Walter (2004), Anderson (2001) as a synonym of Copiapoa haseltonia and Slaba, (in Kaktussy (special) 33: 3. 1997) as C. cinerea subsp. gigantea for sharing the following characters: Apical wool orange-brown; large dense multi-headed mounds; stem diameter 10–25 cm, farina-covered; spines honey-coloured, later turning greyish-blackish, more numerous at higher elevations; young areoles orange brown.Accordingly, and since the type locality of C. eremophila is nearly the same of that of C. gigantea (Paposo), we here propose to synonymize the two names.Published as part of Walter, Helmut E. & Guerrero, Pablo C., 2022, Towards a unified taxonomic catalogue for the Chilean cacti: assembling molecular systematics and classical taxonomy, pp. 79-98 in Phytotaxa 550 (2) on page 90, DOI: 10.11646/phytotaxa.550.2.1, http://zenodo.org/record/664103
Ordoliberalism and the evolution of norms
No full textThe first part of the following paper deals with varying points of criticism forwarded against Ordoliberalism. Here, it is not the aim to directly falsify each argument on its own; rather, the author tries to give a precise overview of the spectrum of critique. The second section picks out one argument of critical review – namely that the ordoliberal concept of the state is somewhat elitist and grounded on intellectual experts. Based on the previous sections, the final part differentiates two kinds of genesis of norms: an evolutionary and an elitist one – both (latently) present within Ordoliberalism. In combination with the two-level differentiation between individual and regulatory ethics, the essay allows for a distinction between individual-ethical norms based on an evolutionary genesis of norms and regulatory-ethical norms based on an elitist understanding of norms. A by-product of the author’s argument is a (further) demarcation within neoliberalism
Legacy, state of the art, and future scientific impact and social responsibilities of gaming simulation in Japan
No full textClassifying the Absolute Toral Rank Two Case
No full textThis is the second volume by the author, presenting the state of the art of the structure and classification of Lie algebras over fields of positive characteristic, an important topic in algebra. The contents is leading to the forefront of current research in this field. Leading to the forefront of current research in an important topic of algebra
Poetics of the same: a philosophical poetic recourse into sameness
No full textPhDThis study endeavours to investigate the philosophical and poetological
dimensions, the philological origins, and significant philosophical-literary
representations of the Same. It also assesses sameness as a philosophical and
poetological modus operandi; that is to say, it analyzes the ways in which the
Same operates in different types of discourses both as an object of investigation
and as an agent of (poetic) thought. The concept of the Same or the operation of
sameness as the philosophical question par excellence will be considered in the
development of Continental philosophy and philosophical poetics from classical
antiquity to Postmodernism, and its transposition into poetry.
The elaboration of the issue of sameness encompasses any philosophical
inquiry which seeks to establish the essence of Being and make it susceptible to a
general, unifying principle: as a search for an underlying element; for a
metaphysical unity or universal, preceding division or difference and amounting
to the harmony in the Universe; or for a transcendental absolute totality.
Postulations of the pure conceptual difference are likewise examined as part of the
elaboration of sameness, and will be viewed as indispensable for revealing the
genuine plenitude of sameness.
Part One traces the inception of sameness as a concept of pure identity,
amounting to the harmony of the Universe by virtue of the operations of
belonging (Presocratics), participation (Plato), and emanation (Plotinus), anchored
in the relationships between the One and the many, between the Whole and its
parts, between the Original and the copy. Part Two inquires into the limits of
postulating sameness in terms of pure identity and points to two possible solutions
to this problem: a philosophical-aesthetic digression from sameness (Kant and
related aesthetic theories of the seventeenth and eighteenth centuries) and the
return to sameness as an absolute totality in Part Three (Schelling and Hegel).
Part Four investigates the re-postulation of sameness as pure Difference
(Nietzsche, Heidegger, Derrida), hence the entire re-organization of thought in
terms of the other. Part Five analyzes the transposition of sameness from
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philosophy into the poetic language of repetition, using Rilke’s Sonnets to
Orpheus as its prime poetic example.
It will be argued that the philosophical displacement of the Same from a
concept of identity into that of difference does not amount to an abandonment of
its plenitude, but rather points to the need for a precarious balance between
sameness and difference, the simultaneous quest for unity and the absolute
singularity of the other. This balance, it will be argued, must be sought for in
every genuine creation
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