All three hitherto published novels by Dana Grigorcea do explicitly refer to Romania. Had her first novel been set in the Danube Delta and her second in Bucharest, so the plot of the recently released novel Die nicht sterben is located in the touristic town B. (= Buşteni) at the foot of the Carpathian Mountains. Based on Bram Stoker’s Dracula as literary pre-text, the plot of Die nicht sterben interweaves elements of Romanian history, Romanian contemporary events as well (...) as elements of the family history of the first-person narrator. The present paper is focused especially on the female narrator’s bodily, erotic and flying fantasies. The social and moral revolt which manifests itself first and foremost in the vampiresses’ urge to impale, subsides in the end in uncritical idyllic and narcissistic self-reflection. (shrink)

Si l’héroïsme médiéval s’élabore avant tout, dans sa composante guerrière, au masculin singulier, la tradition narrative française prévoit néanmoins quelques espaces à l’expression de la prouesse féminine. Du xiie au xve siècle, les romans illustrent plusieurs figures d’amazones ou de veuves viriles. Cependant, cette promotion à l’héroïsme semble difficile à concevoir dans le cas de personnages féminins assumant le rôle d’épouse ou d’amante. Pour vérifier cette constatation, l’enquête se tourne vers les romans idylliques qui ont connu un certain succès au (...) Moyen Age. La relation d’amour réciproque et relativement égalitaire pourrait nous laisser croire que les jeunes amants sont susceptibles de partager le renom de leurs aventures. L’analyse de plusieurs romans montre qu’il n’en est rien. Une exception cependant permet de distinguer le Roman de Floriant et Florete et surtout sa source directe, Erec et Enide de Chrétien de Troyes comme ferment possible d’un héroïsme de l’épouse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 602-603 [Access article in PDF] Paul B. Thompson and Thomas C. Hilde, editors. The Agrarian Roots of Pragmatism. The Vanderbilt Library of American Philosophy. Nashville: Vanderbilt University Press, 2000. Pp. ix + 342. Cloth, $39.95. If "racial memory" is a viable concept, then the enduring paradigm of human productivity is agriculture, whose seventy-century dominion Western industry and urbanization have eclipsed only (...) within the last two hundred years. The fifteen essays collected here explore America's distinctive form of agrarianism: where individualism, democracy, and a seemingly endless frontier transcended European quarrels over "commons" versus "containment." These values also helped forge our indigenous philosophy—pragmatism—and it is the confluence of these two distinctive American forms that intrigues each of these authors.The essays fall roughly into three groups: 1) historical queries whose connection to pragmatism is marginal, 2) expositions of the agrarian roots of pragmatism, and 3) estimates of the influence of classical pragmatism on the recent rise of neoagrarianism. The first category offers sparkling essays by Charles Taliaferro, James Campbell, Paul B. Thompson, Robert S. Corrington, and Douglas R. Anderson. Together these scholars sketch a history from colonial times to the mid-twentieth century—from Jefferson's "noble agrarian" to the agony of reconstruction, which hastened the split between Northern transcendentalists and Southern romantics. There are some surprises: Franklin outshines even Jefferson with his balanced vision of self-improvement and community weal, and Jefferson's correspondent Crèvecoueur emerges as a visionary who foresaw farming as a wholesome and integrated way of life a century before Emerson and Thoreau. Thomas C. Hilde finds an engagingly pragmatic notion of community in Josiah Royce, and Richard E. Hart discovers Dewey's sense of concrete experience in the novels of John Steinbeck. The contributions of neglected figures such as Francois Quesnay, Liberty Hyde Bailey, John Brewster, and A Whitney Griswold are also recovered.Turning to the second group, though obviously an irresistible title the notion that classical pragmatism is robustly "rooted" in agrarianism is slightly disingenuous. Peirce and James have no direct ties to agrarianism. And though Dewey's themes of innovation, social intelligence, community, and a conception of experience broadly inclusive of organisms and environments reflect obvious affinities, they do not show that pragmatism grew directly from or is a variant of agrarianism. Happily, the pieces on Dewey contributed by Larry A. Hickman and Armen Marsoobian harbor no such illusions, [End Page 602] and Dewey is specifically disassociated from the claim that agriculture is a privileged form of experience.The third, and perhaps most significant, aim of the volume is to bring pragmatic insights into the recent groundswell toward neoagrarianism. Where traditional agrarianism was polarized between the domination of nature and its romantic beatification, the movement pioneered by Wendell Berry in the 1970s portrays the farmer as a nurturer whose goal is to seek an optimal harmony in the health of the land, the family, the community, and the country. In this James A. Montmarquet finds a Deweyan respect for an encompassing "situation," a unity of fact and value in stark opposition to the "corporate" mentality of specialization and success measured in economic gain alone. For Jeffrey Burkhardt, land grant universities must renew their original commitment to the family farm by distancing themselves from the forces of positivism and scientism—the technocrats and bio-chemical engineers who have imperiled both the land and the communities who depend upon it. Neither Montmarquette nor Burkhardt are looking for handouts, or for a return to the "idyllic" life of the one-horse plow. They emphasize moral training and a combination of practices designed to support the sustainability of the smaller farm in a competitive marketplace.One author compares the mention of agrarianism in philosophical discourse to committing a rude act in public. Clearly, however, mere "respectability" is not enough. If the contributors to this volume are correct, agrarianism is a lantern that may illuminate our ongoing search for wholeness and integrity. Frank X. Ryan Kent State University... (shrink)

The mystical part of Reitzenstein′s interpretation of the song in Theocritus′s first idyll has not been generally accepted;it is somewhat surprising to find a new interpretation of the legend of Daphnis, and a new explanation of the genesis of pastoral poetry, introduced by the statement, referring to Reitzenstein: ‘ Nicht zu kiihn war er, sondern noch nicht kiihn genug.’ Starting from Reitzenstein′s contention that the pastoral was developed from a cult-song, Fries elaborates the theory that Daphnis is a Greek Krishna; (...) that the maiden of Theocritus′s first idyll is the counterpart of the heroine of the Song of Songs; that astral mythology, Oriental in origin, supplies the clue to Theocritus′s handling of the legend. On the basis of this and other material Fries constructs further theories affecting the development of other literary types than the pastoral, and leads us ultimately to a novel interpretation of the Phaeacian episode in the Odyssey. (shrink)

Canadian novelist Rudy Wiebe's award-winning memoir, of this earth: A Mennonite Boyhood in the Boreal Forest, invites readers into a warm subjective realm in which a meditative Wiebe recounts his growing-up years from birth to age thirteen. As self-reflexive "rememberer," Wiebe explores the sensate freshness of a boy's ways of seeing, touching, and, not least, hearing the world. The young Wiebe lives with his parents and siblings and neighbours in an emotionally warm Christian community of 1920s immigrants to Canada who (...) have fled from the Soviet Union in the wake of the 1917 Revolution and who struggle for economic survival in a remote corner of rural Saskatchewan during the 1930s and 1940s. But Wiebe's memoir of childhood is not only autobiography and social history; it is also a linguistic text that subtly invites readers to look beyond its textual boundaries to his earlier work. In particular, it has the effect of carrying alert readers back to the setting—at least physically and geographically if not altogether socially and culturally—of Wiebe's first novel, Peace Shall Destroy Many. That early novel was a caustic work notoriously controversial especially among Mennonite readers in Canada when it appeared almost a half-century ago. The 2006 memoir—with intertextual allusion—invites readers to recall especially one layer of that early novel barely noticed by readers, a layer eclipsed and partially hidden by the dominant narrative. Specifically, it invites readers to see the virtually sinless and prelapsarian world of the idealistic young Hal Wiens whose idyllic life in the fictional spaces of Peace Shall Destroy Many goes unnoticed because it is so very much in the shadow of the doubts and tensions that inform the much larger world of his spiritually troubled older brother, nineteen-year old Thom Wiens. The memoir pushes readers into re-thinking the reception of that novel, and into finding anew beneath its severe and satiric treatment of the austere adult world the linguistic and spiritual joy of life given shape in the playful perceptions of the young Hal. The memoir becomes a stimulus for a transformational re-reading of the novel. This essay explores the two works in light of each other and of conventions that govern the two respective genres. It attempts, also, to account for the reading strategies that Wiebe's 2006 memoir proposes to readers of his first novel, and for key influences informing the two respective works. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

The article examines Heidi’s suffering in the multimedial career of Johanna Spyri’s 1880 novel ›Heidis Lehr- und Wanderjahre‹. In the adaptations, Heidi’s suffering is continually recontextualized according to societal and genre specific conditions. In Spyri’s novel, the focus lies on a pathologized homesickness which is elevated through Christian interpretation, presenting it as a necessity on the path to salvation. The religious motivation fades throughout the adaptations, so that in the (post-)war era, the idyllic mountain world is used (...) to foster community and sharpen Switzerland’s political profile. In perhaps the most famous adaptation Heidi undergoes a childish regression as ›cute Heidi‹ in the anime, while in 21st century adaptations, she emancipates herself, ultimately appearing as ›Mad Heidi‹ in a dystopian setting to save Switzerland from a cheese dictatorship: Heidi no longer suffers; she’s mad. (shrink)

This article considers a novel approach to researching sporting embodiment via what has been termed ‘autophenomenography’. Whilst having some similarities with autoethnography, autophenomenography provides a distinctive research form, located within phenomenology as theoretical and methodological tradition. Its focus is upon the researcher’s own lived experience of a phenomenon or phenomena. This article examines some of the key elements of a sociological phenomenological approach to studying sporting embodiment in general before portraying how autophenomenography was utilised specifically within two recent research (...) projects on distance running. The thorny issues of epoche and bracketing within phenomenological and autophenomenographical research are addressed and some practical suggestions tentatively posited. (shrink)

Moral reasoning typically informs environmental decision-making by measuring the possible outcomes of policies or actions in light of a preferred ethical theory. This method is subject to many problems. Environmental pragmatism tries to overcome them, but it suffers also from some pitfalls. This paper proposes a new method of environmental pragmatism that avoids the problems of both the traditional method of environmental moral reasoning and of the general versions of environmental pragmatism. We call it ‘justificatory moral pluralism’ – it develops (...) the intuition that normative ethical theories need not be mutually exclusive. This leaves room for important forms of pluralist environmental ethics that do not require a once-and-for-all prior commitment to an ethical theory when deciding about policies or courses of action related to the protection of the environment. Justificatory moral pluralism offers a viable solution to the recurrent conflicts between efficient environmental decisions and the need for moral reasoning. (shrink)

In the business world, one of the key challenges is how to survive in ever changing business environments and outperforming the competitors, while keeping the operational cost at minimum and profits at maximum level. In other words, this can be described as the problem of improving operational efficiency and reducing cost. Over the past few years due to global financial challenges, it has become even more important to improve the operational efficiency and reduce costs to survive through these tough conditions. (...) Like other successful implementations of Lean philosophy, especially in automobile, aerospace, steel and healthcare, it can be applied in cable manufacturing to achieve competitive, sustainable and profitable processes. The main focus of Lean philosophy is to create value for the stakeholders and end customers by reducing the non-value added activities or waste, and laying a strong foundation towards sustainable growth, by focusing on continuous process improvement. The overall philosophy provides a focused approach for continuous process improvement and the targeting of a variety of tools and methods to bring improvements. This paper presents case studies for Lean scheduling of manufacturing processes and exemplify how Lean scheduling processes allow organisations to maintain the continuous improvement philosophy. This paper also addresses the key elements of rescheduling processes i.e. how to schedule and when to schedule. Further, the paper will exemplify key benefits of Lean scheduling and how the Cable industry could benefit from the proposed approach. (shrink)

This essay looks at Nietzsche in relation to the Epicurean tradition. It focuses on his middle period writings of 1878 texts such as Human, all too Human, Dawn, and The Gay Science heroic-idyllic philosophizing’. At the same time, Nietzsche claims to understand Epicurus differently to everybody else. The essay explores the main figurations of Epicurus we find in his middle period and concludes by taking a critical look at his later and more ambivalent reception of Epicurus.

The article discusses the metapoetic import of Idyll 15. The tapestries and the Adonis song evidence a metapoetic significance, as well as the votive offerings described in this song. In addition, throughout the poem, the association of cloths and poetry is encouraged. The poem functions as a “metapoetic manifesto” designed to indicate the poetic qualities defended by Theocritus. At the same time, it promotes itself as an example of the refined literature and art promoted by the Ptolemaic court and by (...) Arsinoe, and introduces a recognition and appraisal of Arsinoe as responsible for the patronage and promotion of these forms of art. (shrink)

review and discussion of: John Wright: Explaining science’s success: Understanding how scientific knowledge works. Durham: Acumen, 2012.

Without trust there is no credible human health research (HHR). This article accepts this truism and addresses a crucial question that arises: how can trust continually be promoted in an ever-changing and uncertain HHR environment? The article analyses long-standing mechanisms that are designed to elicit trust—such as consent, anonymization, and transparency—and argues that these are best understood as trust represented by proxies of trustworthiness, i.e., regulatory attempts to convey the trustworthiness of the HHR system and/or its actors. Often, such proxies (...) are assumed to operate as markers that trust exists or, at least, has not been lost. But, since trust can neither be “built” nor “secured,” this is a precarious assumption. Worryingly, there is no existing theoretical account of how to understand and evaluate these proxies of trustworthiness as part of a trusted HHR ecosystem. To remedy this, the paper argues for a radical reimagining of trust and trustworthiness as performative acts that ought to be understood in relation to each other and by reference to the common values at stake. It is shown that proxies of trustworthiness are the operational tools used to perform trustworthiness. It advocates for a values-based approach to understanding the relationship between trust and trustworthiness. This establishes a strong basis for an evaluative framework for proxies of trustworthiness, i.e., to determine how to perform trustworthiness well. Five common proxies in HHR are scrutinized from a values perspective. The contribution is to provide a far-reaching normative and practical framework by which existing and future proxies of trustworthiness can be identified, assessed, maintained, or replaced in rapidly changing HHR regulatory ecosystems where trust itself is crucial to the success of the entire HHR enterprise. (shrink)

Arbitrariness and systematicity are two of language’s most fascinating properties. Although both are characterizations of the mappings between signals and meanings, their emergence and evolution in communication systems has generally been explored independently. We present an experiment in which both arbitrariness and systematicity are probed. Participants invent signs from scratch to refer to a set of items that share salient semantic features. Through interaction, the systematic re-use of arbitrary signal elements emerges.

Anthropogenic changes in the biosphere, driven mainly by human cultural habits and technological advances, are altering the direction of evolution on Earth, with ongoing and permanent changes modifying uncountable interactions between organisms, the environment, and humankind itself. While numerous species may go extinct, others will be favored due to strong human influences. The Bio-Evolutionary Anthropocene hypothesizes that directly or indirectly human-driven organisms, including alien species, hybrids, and genetically modified organisms, will have major roles in the evolution of life on Earth, (...) shifting the evolutionary pathways of all organisms through novel biological interactions in all habitats. We anticipate that, in future scenarios, novel organisms will be continuously created, and contemporary native organisms with no obvious economic use will decline—while anthropogenic-favored and novel organisms will spread. The Bio-Evolutionary Anthropocene hypothesis therefore predicts that humankind and novel organisms will interact within a strong evolutionary bias that will lead to unexpected, and probably irreversible, outcomes for the evolution of life on our planet. (shrink)

Deletions, duplications, insertions, inversions, and translocations, collectively called structural variations (SVs), affect more base pairs of the genome than any other sequence variant. The recent technological advancements in genome sequencing have enabled the discovery of tens of thousands of SVs per human genome. These SVs primarily affect non‐coding DNA sequences, but the difficulties in interpreting their impact limit our understanding of human disease etiology. The functional annotation of non‐coding DNA sequences and methodologies to characterize their three‐dimensional (3D) organization in the (...) nucleus have greatly expanded our understanding of the basic mechanisms underlying gene regulation, thereby improving the interpretation of SVs for their pathogenic impact. Here, we discuss the various mechanisms by which SVs can result in altered gene regulation and how these mechanisms can result in rare genetic disorders. Beyond changing gene expression, SVs can produce novel gene‐intergenic fusion transcripts at the SV breakpoints. (shrink)

Taylor Cyr offers a novel argument against, as he puts it, “all versions of historicism” about direct moral responsibility. The argument features constitutive luck and a comparison of manipulated agents and young agents performing the first actions for which they are morally responsible. Here it is argued that Cyr’s argument misses its mark. Alfred Mele’s historicism is highlighted.

The very idea of novel ecosystems has been controversial in ecology. Critics have complained about its imprecision, and that it illicitly smuggles problematic ethical and political values into the science. By labelling a human-modified system a ‘novel ecosystem,‘ they worry, we give policymakers a “license to trash nature.“ The critics are right to be suspicious. I show that proponents of the novel ecosystem concept have been unable to make it both value-free and precise enough to allow for (...) applied use.Also, the critics are right to be suspicious, because a goal for many proponents of novel ecosystems is to bring new values into applied ecology. But the critics are wrong that this is illicit. I defend a value-laden conception of novel ecosystems, showing that applied ecologists are comfortable with other value-laden concepts, and that the value shift motivating discussion of novel ecosystems is necessary if we want to understand and protect nature in a changing world. (shrink)

In this paper, a novel no-equilibrium 5D memristive hyperchaotic system is proposed, which is achieved by introducing an ideal flux-controlled memristor model and two constant terms into an improved 4D self-excited hyperchaotic system. The system parameters-dependent and memristor initial conditions-dependent dynamical characteristics of the proposed memristive hyperchaotic system are investigated in terms of phase portrait, Lyapunov exponent spectrum, bifurcation diagram, Poincaré map, and time series. Then, the hidden dynamic attractors such as periodic, quasiperiodic, chaotic, and hyperchaotic attractors are found (...) under the variation of its system parameters. Meanwhile, the most striking phenomena of hidden extreme multistability, transient hyperchaotic behavior, and offset boosting control are revealed for appropriate sets of the memristor and other initial conditions. Finally, a hardware electronic circuit is designed, and the experimental results are well consistent with the numerical simulations, which demonstrate the feasibility of this novel 5D memristive hyperchaotic system. (shrink)

BackgroundFidelity of implementation reflects whether an intervention was implemented in clinical practice according to the originally developed manual and is a key aspect in understanding intervention effectiveness. To illustrate this process of developing a fidelity measure, this study uses the Mini-AFTERc, a brief psychological intervention aimed at managing breast cancer patients’ fear of cancer recurrence, as an example.ObjectivesTo illustrate the development of an FOI measure through applying this process to the Mini-AFTERc intervention, by including the design of a scoring system (...) and rating criteria; content validating the FOI measure using thematic framework analysis as a qualitative approach; testing consistency of the FOI measure using interrater reliability.MethodsThe FOI measure was developed, its scoring system modified and the rating criteria defined. Thematic framework analysis was conducted to content validate the FOI measure using nine intervention discussions between four specialist cancer nurses and four breast cancer patients, and one simulated breast cancer patient. Intraclass-correlation was conducted to assess interrater reliability.ResultsThe qualitative findings suggested that the Mini-AFTERc FOI measure has content validity as it was able to measure all five components of the Mini-AFTERc intervention. The interrater reliability suggested a moderate to excellent degree of reliability among three raters, rICC = 0.84, 95% CI [0.51, 0.96].ConclusionThe study has illustrated the steps that an FOI measure can be developed through a systematic approach applied to the Mini-AFTERc intervention. The FOI measure was found to have content validity and was consistently applied, independently, by three researchers familiar with the Mini-AFTERc intervention. Future studies should determine whether similar levels of interrater reliability can be obtained by distributing written and/or video instructions to researchers who are unfamiliar with the FOI measure, using a larger sample. Employing developed and validated FOI measures such as the one presented for the Mini-AFTERc would facilitate implementation of interventions in the FCR field in clinical practice as intended.Clinical Trial Registrationwww.ClinicalTrials.gov, identifier: NCT03763825. (shrink)

The study explores the use of Graphic Novels as an innovative form of training that may improve an individual’s ethical efficacy. A quantitative comparison of the graphic novel method and the traditional written case study is analyzed. The literature on ethics, graphic novels, and training are brought together from theories of narrative and literature perspective to formulate a study. The study uses a 2 × 2 repeated-measure MANOVA to analyze the participant’s reaction to bribery situations based on varying levels (...) of ‘grayness.’ The overall study finds that ethical efficacy increases with the use of the graphic novel method. The greatest improvements are in the individual’s level of self-efficacy and understanding of principle-based ethical issues. In addition, the participant’s level of industry experience may play a factor in applying the graphic novel technique. Finally, guidelines on how to effectively utilize the graphic novel method are stated. Improving ethical efficacy through business ethics training may help improve an individual’s self-efficacy, involvement and principle-based understanding. The study explores the use of Graphic Novels as an innovative form of training that may improve an individual’s ethical efficacy. A quantitative comparison of the graphic novel method and the traditional written case study are analyzed. Literature on ethics, graphic novels, and training are brought together with theories of narrative and literature perspective to formulate a study. The study uses a 2 × 2 repeated-measure MANOVA to analyze the participant’s reaction to bribery ethical situations based on varying levels of ‘grayness.’ The overall study finds that ethical efficacy increases with the use of the graphic novel method. The greatest improvements are in the individual’s level of self-efficacy and understanding of principle-based ethical issues. In addition, the participant’s level of industry experience may play a factor in applying the graphic novel technique. Finally, guidelines on how to effectively utilize the graphic novel method is set forth. (shrink)

Siphonous seaweeds, which constitute a vital component of coral reefs, are structurally simple, single‐celled coenocytic macroscopic green algae. Kim et al.1 have recently shown the extraordinary wound‐repair and propagation mechanism of one such siphonous green alga—Bryopsis plumosa. Nucleocytoplasmic aggregates, which are released after injury to this plant, are membraneless structures that can survive in seawater for 10–20 minutes, before they are surrounded by a gelatinous envelope. Subsequently, a cell membrane and cell wall are synthesized around each of these aggregates and (...) the resulting individual cells, so formed, develop into new plants. This report represents a significant advance in our understanding of wound response and, more significantly, is probably the first example of transient survival of life without a cell membrane! BioEssays 24:588–590, 2002. © 2002 Wiley Periodicals, Inc. (shrink)