Reframing Consciousness is a collection of sixty-three papers that were presented at the Second International CAiiA Research Conference, ‘Consciousness Reframed: Art and Consciousness in the Post-biological Era', at the University of Wales College, Newport, in August 1998. CAiiA stands for the Center for Advanced Inquiry in the Interactive Arts. Many of the presenters in this book are among the foremost people in their fields and several are current or former PhD candidates of the CAiiA programme. Roy Ascott, the editor of (...) the book, is also the founder-director of the programme. Ascott has worked with interactive media and its implications for several decades, and the fact that he is frequently referenced throughout the book suggests that he has had a strong influence on many of its contributors. Considering the fact that decades ago he was dealing with ideas that are currently considered cutting-edge, this seems reasonable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.1 (2005) 127-133 [Access article in PDF] Aristophanes' Frogs: Brek-kek-kek-kek! on Broadway Mary English Montclair State University e-mail: [email protected] Aeschylus: Answer me—why should the dramatic poet be admired? Euripides: For cleverness and sound advice, and because we make the men of the cities better. Aristophanes, Frogs, 1008-1010 Thirty years ago, Robert Brustein, the dean of the Yale School of Drama, commissioned Burt Shevelove to (...) restage a production of Aristophanes' Frogs that Shevelove wrote during his graduate school days at Yale in 1941.1 The performances were to be held in the Olympic-size swimming pool of the Payne Whitney Gymnasium. Shevelove asked Stephen Sondheim, with whom he had collaborated on A Funny Thing Happened on the Way to the Forum, to compose the lyrics for the musical numbers and Carmen de Lavallade to choreograph the dance pieces. The cast included students at the Yale School of Drama (among the chorus were Christopher Durang, Meryl Streep, and Sigourney Weaver), and, as in 1941, members of the Yale swim team were assembled for the frogs. In addition to stripping the original Greek script of most of its topical allusions, Shevelove updated the comic agōn by replacing Aeschylus with Shakespeare and Euripides with George Bernard Shaw, whose detractors, much like Euripides' opponents, characterized him as "subversive" and "unpatriotic" and believed that his plays favored criticism over commitment. Broadway columnists traveled to New Haven to review the [End Page 127] performances, and, for the most part, the response was positive.2 Despite this acclaim, however, only a few other directors in the intervening years have dared to stage this imaginative adaptation.3The Lincoln Center Theater decided to mark its twentieth anniversary with a revision of this script that poses an answer to Aeschylus' question in Frogs, "Why should the dramatic poet be admired?" The production owes its very existence to the advocacy of Nathan Lane,4 who shrewdly decided to employ the talents of Tony Award-winning Susan Stroman as choreographer and director. Lane updated the original script, and he and Stroman convinced Sondheim to write additional songs for the libretto. In an interview with John Guare, Lane revealed that he saw Aristophanes' Frogs as speaking directly to challenges of our times: "There's something idealistic about the notion of someone believing that the arts can make a difference, that you can effect a change. Dionysos' dream to go down to Hades and bring back this great writer who could actually have an effect on the world, it's noble and touching and crazy—all at the same time. I found it moving, in light of what was going on in the world."5 Stroman, too, believed that Frogs could offer comfort not only to fifth-century Athenians embroiled in a thirty-year civil conflict but also to those trying to rebuild their lives after the recent terrorist attacks: "And when Nathan first brought this [script] to me, it was only a [End Page 128] year after September 11th. We were all still reeling. I think that's another reason I was attracted to the play immediately. Usually, when one grieves, you can go somewhere and have a little relief from it. But when September 11th happened, the entire city of New York was grieving. There was nowhere to go, and there would be nowhere to go for a very long time. No one was stepping forward who could truly speak about what just had happened. No one could find words to comfort us or explain these images we were overwhelmed with daily. There was no one to ease our hearts."6 Although the links that Lane and Stroman draw between fifth-century Athens and New York often work well—the topical jokes about George Bush elicited veritable "hooting and hollering" from the typically reserved Broadway theatergoers—the play's final message, that a dramatic poet, in this case Shakespeare, can save the world from its present woes (or at least help it along), seems unlikely to satisfy an audience whose... (shrink)

Reforms surrounding the teacher’s role in fostering students’ social competences, especially those associated with empathy, have moved to the forefront of global higher education policy discourse. In this context, reform in higher education teaching has been focused on shifting teachers’ practices away from traditional lecture-style teaching—historically associated with higher education teaching—towards student-centred pedagogical approaches, largely because of how the latter facilitate students’ social learning, including the development of students’ abilities connected to empathy, such as intercultural understanding. These developments towards learner-oriented (...) higher education teaching may offer promising opportunities; however, a central problem within these current policy recommendations is that the connection between cultivating empathy and cultivating imagination is not explicitly foregrounded. Against this background, I turn to Dewey’s notion of imagination to show how imagination is indispensable to all learning, and therefore has a role to play in teaching. In this article, I show how imagination is not only deeply connected to empathy, but also critical for gaining intercultural understanding and is a condition for the possibility that, as human beings, we can learn with and from others. On this basis, I argue that Dewey’s notion of imagination provides significant insight on how to rethink what is needed to create inclusive classrooms in higher education, especially under conditions of cultural, linguistic and religious diversity. First, I consider Dewey’s concept of learning and the indispensable role of imagination in learning. Second, drawing on the work of Martha Nussbaum, I examine how teaching through the narrative arts in higher education cultivates the imagination and helps us engage the lives of others. I use an example from my own teaching to illustrate how the narrative arts can foster dialogue across difference through the development of what I call ‘third voice’—a different or other ‘position’ that productively mediates reflective interaction between participants, including teacher and learners. In closing, I consider the implications of my discussion for present and future higher education policy on the evaluation of ‘quality teaching’. (shrink)

"Kevin Hart and Geoffrey H. Hartman bring together essays by prominent scholars from a range of disciplines to focus on Blanchot's diverse concerns: literature, art, community, politics, ethics, spirituality, and the Holocaust."--Jacket.

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few (...) sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art. (shrink)

In 1941 Fritz Saxl and Rudolf Wittkower of the Warburg Institute organized an exhibition on English Art and the Mediterranean. The photographic exhibition showed the long history of artistic and cultural ties between English art and the classical tradition, employing Aby Warburg's method. The project was an attempt by Saxl, as director, to show the relevance of the Warburg Institute's work in England, the new home of the Library since 1933. Kenneth Clark, director of the National Gallery, actively (...) promoted the work of the Institute, including by supporting the naturalization process for many of the Warburg scholars. The popular belief in the cultural ties between England and Italy fed into the positive reception for the exhibition and into acceptance of the work of the Warburg Institute. The exhibition was published in a large format catalog in 1948, further adding to the popularity of the exhibition with a diverse British public. Although the motivation for the exhibition emerged from political conditions and institutional circumstance, it had a lasting effect on the history of the study of English art and architecture. Wittkower and others turned to research on the classical tradition in English art, even though the method had limited relevance beyond the “neoclassical” period. (shrink)

A unique Middle English text on the seven liberal arts survives in Cambridge, Trinity College, MS R. 14.52, a manuscript of ca. 1458–85. Latin texts on the seven liberal arts were certainly in circulation in medieval England, but this text is, to my knowledge, the earliest one written in English. It thereby offers evidence of the vernacular English reader's knowledge of the arts that were the foundation of medieval university education. This text is also unique in that (...) it includes in its chapter on grammar an attempt to describe the phonetic production of the letters of the alphabet, providing the only surviving contemporary approximation of the pronunciation of medieval English, and in that it adds a chapter on the mechanical sciences, relating them as no other medieval author to the English craft guilds. (shrink)

This study aims to improve the effectiveness of English grammar teaching in high school. Firstly, the Science, Technology, Engineering, Art, and Mathematics (STEAM) educational model is comprehensively discussed. Then, the current situation and difficulties of English grammar teaching in high school are analyzed. Finally, based on the traditional and the STEAM teaching mode, a comprehensive study on the psychological motivation of students is carried out in high school English grammar teaching. The traditional teaching model had little effect (...) on students’ psychological motivation in the process of English grammar teaching. Therefore, students’ satisfaction with English grammar teaching under the traditional teaching model is very low, especially in innovation and practice. The STEAM teaching model has greatly improved the psychological motivation of high school students in the English grammar teaching process. The overall satisfaction rate of the students with the English grammar teaching in the STEAM teaching model is 70%. This teaching model can greatly improve students’ requirements for innovation and practice. This study not only provides a reference for the improvement of English teaching in high schools but also contributes to the reform and development of education. (shrink)

Cover -- Half Title -- Title Page -- Copyright Page -- Table of contents -- Contributors -- Introduction -- 1 From place to planet: The role of the language arts in reading environmental identities from the UK to New Zealand -- From here to there -- Cockney translation -- Environmental identities -- Environmental knowledge -- Conclusion: moving from place to planet -- Notes -- References -- 2 Connecting community through film in ITE English -- Introduction -- The place of (...) English in the contemporary policy context -- Place in English: doing things differently -- The film project -- The films -- 'Our Place': the Kingsville School -- 'This is Our Place': High Bridge -- 'This is My Place': Silver Hill -- Discussion -- The place of school -- The place of the subject -- The place of pupils -- Connecting community through film: the possibilities of place -- Note -- References -- 3 Muslim youth identities through devotional songs and poetry in South Yorkshire communities -- Introduction 1: creative language study as etiolation -- Introduction 2: faith-based complementary schooling and language heritage -- Introduction 3: Islamophobia and youth identity -- Poetry and 'song' in the Islamic world and among Muslim youth in the UK -- This study -- Conclusion -- Notes -- References -- 4 Creative spaces for developing independent writing with English teachers -- Why do we need to develop teachers as creative writers? -- The role and influence of the National Writing Project -- The writing identities of trainee teachers -- Writing in creative spaces -- Some conclusions: writing teachers in creative spaces -- Writing from the Georgian House -- Writing from Brandon Hill -- Notes -- References -- 5 Durham city as an educational resource in initial teacher education for English: Seeing the city with new eyes -- Context -- The activity -- Implications. (shrink)

In his introduction, Mr. Potts sketches the history of the work; by quoting extensively from the great critics he illustrates its influence and indicates the significance of Aristotle's formulations. The notes take up the hints, judgements and insights that Aristotle lets fall, show their deeper meaning and give them an application. They also explain to the reader the allusions that gave the original is topicality. There is a brief bibliography and a full index. -- Back cover.

In this article, we examine how cognitive metaphor theories might contribute to the theory and practice of poetry translation. We focus on translations from Chinese to English by Xu Yuanchong, both...

Dieser Band versammelt originäre Beiträge am Schnittpunkt von Philosophie, Wissenschaftsgeschichte, Kultur- und Theaterwissenschaft. Auf der Grundlage von Falluntersuchungen zum 17. Jahrhundert trägt er zum Verständnis der Rolle bei, die Instrumente im Schnittfeld von Wissenschaft und Kunst spielen. Die Beiträge verfolgen dabei die Hypothese, dass die Entwicklung und Gestaltung von Instrumenten wesentlich zur Eröffnung neuer Felder des Wissens, zur Entstehung neuer kultureller Praktiken, aber auch zur Abgrenzung bestimmter Genres, Methoden und Disziplinen beiträgt. Diese Perspektive führt die Beiträge dieses Bandes dazu, auf (...) neue Weise das, was ein Instrument überhaupt ausmacht, zu durchdenken und eine Reihe von Grundfragen zur Bestimmung des Instrumentes zu erarbeiten: Welche Handlungen verkörpert das Instrument? Welche Handlungen werden durch das Instrument ermöglicht? Wann werden Untersuchungsobjekte ihrerseits Instrumente? Welche Fähigkeiten setzt der Instrumentengebrauch voraus, welche produziert er? Durch die Kombination neuer theoretischer Modelle und historischer Fallstudien, durch den detailgenauen Nachweis des gegenseitigen Einflusses von Kunst und Wissenschaft am Schnittpunkt des Instrumentes betritt dieser Band Neuland. Er ist von großem Wert für alle, die sich für die Vorgeschichte unsere instrumentengeleiteten Wahrnehmung interessieren. Zu den Autoren des Bandes zählen neben den Herausgebern Jörg Jochen Berns, Olaf Breidbach, Georges Didi-Huberman, Peter Galison, Sybille Krämer, Dieter Mersch, Hans-Jörg Rheinberger, Wilhelm Schmidt-Biggemann und Otto Sibum. (shrink)

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works (...) of Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)