1,720,969 research outputs found
A Light That Never Goes Out
No full textThis chapter argues that, in spite of its defeat, humanity in McCarthy’s novel is buried alive as a resilience of ethics. Using Agamben’s notion of bare life and Levinas’s writing on the absolute primacy of ethical relation, the chapter explores McCarthy’s vision of a humanity that is backed up against its limit. For Agamben, the modern paradigm of bare life, characterized by its infinite exposure to death, is the concentration camp where there is no longer any distinction between law and life. The crisis of political existence this implies as well as the divestiture of value that life is exposed to represent the ontological warrants that allow McCarthy to examine the significance of a humanity abandoned to the threshold of its presuppositions. When life is cut back to its intrinsic terms, the only value that seems to remain is pure life (zoē) or life deprived of its political value, in Agamben’s terms. In a colorless landscape of the novel where all distinctions have been burnt to cinders that cover the earth as the ubiquitous remainder of their absolute destruction, the topography of what makes us human, however, can yet be traced as an ethical intrigue that, in spite of all, still flickers in the ashes and powers the novel. For McCarthy, in other words, the call of goodness is what constitutes the gravity of being whose pull, in the end, remains stronger than its fear of death
Introduction Culture on the move: Towards a minorization of cultural difference
Get PDFThis Special Issue would not have been possible without the enduring effort of the contributors whose patience has been paramount to what, at times, must have seemed as an endless unfolding of revisions before we could find the right pitch and I’m indebted to all of you for your commitment and support. Special thanks also is due to the Institute for American Universities and Professor Maria Van Liew whose initiative for a conference on the topic in Barcelona 2018 provided a much appreciated catalyst for the volume. School of Education and Communication at Jönköping University and its research focus in Communication, Culture and Diversity with Professor Ylva Lindberg at the helm have also been instrumental in providing continuous suport for the project as well as my own Department of Languages and Literatures at the University of Gothenburg with its established research field in Transcultural Studies. I also owe a debt of gratitude to the editorial team at Moderna Språk and our brilliant Anna Gudmundson, above all, whose attentive eye, appreciation and tireless enthusiasm have made this volume finally see the light of day.
Most of all, however, I want to thank my awesome wife Maria and my son and daughter, Mies and Dalia Belle, whose love and joy are the foundational pillars of all my endeavours.
Zlatan Filipovic, July 2020
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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
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