The article analyses the gradual development of the narrative and the change in its main features. Initially, the narrative was considered as an authentic reproduction of past experience that is meaningful for the narrator. Later, the definition and study of such attributes of the narrative as sequence, plot, the narrator’s value attitude, and time began. Contemporary research focuses on temporality, causality, the context of narrative formation, certainty (uncertainty) of narrative scenarios, and narrative control. There has been a shift away (...) from viewing the narrative as a finished product towards understanding it as a process of meaning-making from the narrator’s present. Narrative formation is rooted in social or personally meaningful context. (shrink)

This study elaborates on narrative resources emerging in the treatment of longlasting musculoskeletal and psychosomatic disorders in Norwegian psychomotor physiotherapy. Patients’ experiences produced in focus group interviews were analyzed from a narrative perspective, combining common themes across groups with in depth analysis of selected particular stories. NPMP theory expanded by Løgstrup’s and Ricoeur’s philosophy, and Mattingly’s and Frank’s narrative approach provided the theoretical perspective. Patients had discovered meaning imbued in muscular tension. Control shifted from inhibiting discipline and cognitive strategies, towards (...) more contingence with gravity and sensation, and increased freedom to be what and who they were. Trust, time, open speech, and being respectfully listened to were described as therapeutic pre-conditions. The body was experienced as the source of their voice as their own. As tension patterns transformed, novel experience in sensation appeared to feed narrative imagination, reshaping past plots, embodied identity and future prospects. NPMP was disclosed as a treatment integrating detection, battle and repair as narrative subplots, but the core narrative was the journey of transformation. Novel embodied narrative resources nourished the quest for a life and identity in tune with the body as one’s own. (shrink)

Elijah Fenton’s Phaon to Sappho has so far never been in the focus of literary criticism. The article aims at a more detailed understanding of Fenton’s technique of literary reception by means of a close reading of both Phaon to Sappho and Fenton’s model, the Ovidian Epistula Sapphus. As will be seen, Fenton offers an unexpected perspective on the ancient myth through the eyes of ‘his’ Phaon: Phaon did not leave Sappho out of faithlessness but was completely unable to entertain (...) any feelings of true love, because he had been cursed by Venus for being unfaithful to his former girl-friend in Malea. Phaon merely enjoyed Sappho’s gift of song as a temporary remedy for the agony within his cursed mind, but had to leave her whenever she stopped singing. At this point Phaon is asking for Sappho’s intercession with Venus on his behalf. Although Fenton makes crucial changes to the plot, he does neither ‘deconstruct’ nor ‘correct’ the myth as such: instead, he meticulously retains all the major motifs developed in Ovid’s epistle and thus achieves a literary transformation of the myth, enabling the reader to regard either perspective on the two protagonists’ relationship as logically possible. (shrink)

In Kate Bush’s 1993 album, The Red Shoes, and her film, The Line, the Cross and the Curve, she engages with the symbolism of The Red Shoes fairytale as first depicted in Hans Christian Andersen’s 1845 fairy tale and later developed by the Powell and Pressburger film of the same name. In Bush’s versions of the tale she attempts to find a space of agency for the main female protagonist in a plot structure over-determined by patriarchal narrative and symbolic (...) logic. I will argue that it is through her own use of mystical symbolism — the Line, the Cross and the Curve — mediated through the deployment of ritual magick and kabbalistic ritual — that she breaks the ‘spell’ of the red shoes story where the main female character can escape the gender specific ‘curse’ of the red shoes. (shrink)

Justification for reading Pride and Prejudice as a philosophical novel may be found in its much cited and variously interpreted opening sentence: "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." This universal law is the first principle of a philosophical novel, although I shall also interpret it as the statement of a scientific law of human nature, a characterization of the civility of English society, and (...) as a pronouncement on the manners of an economic class. Pride and Prejudice is a philosophical novel both in the sense of presenting a philosophy in exposition and of embodying a philosophy in action, and literary criticism exercises its proper function by expounding that philosophy and by explicating and clarifying the thought and action of the novel by means of it. The thought of Pride and Prejudice may be uncovered by interpreting it in accordance with any of a variety of philosophies, but it is peculiarly appropriate, and enlightening, to recognize its Platonizing echoes since the dialogues of Plato have gone through a history of interpretation that has evolved distinctions which are useful in interpreting Pride and Prejudice. Many interpreters of Plato's dialogues, in antiquity and later, argue that they are not statements of thoughts or opinions but are simply exhibitions of how philosophers talk; others, beginning with the Old Academy, interpret them as the expression of the truth not of the doctrines of one philosopher, but of all philosophers; some, beginning with the skepticism of the Middle or New Academy, hold that the method of Socrates was to demonstrate that all doctrines are false and therefore, by the same token, true; and some, following the Neoplatonists, sought in them the adumbration of a truth transcending human thought and expression. Neoplatonic truths are suited to tragedy and epic; skeptical Academic opinions provide a place and expectation proper to comedy. All Platonisms share hierarchical structures of being, thought, and aspiration. Plato himself describes three ladders of being, knowledge, and love in the Republic and the Symposium. The New Academic skepticism chooses a low place on those ladders, which is excellently named in the opening sentence of Pride and Prejudice: knowledge is based on self-evident truths, opinion can rise no higher than "a truth universally accepted," "possession of a good fortune" is a dubious degradation of vision of the ideal God to possession of material goods, and "want of a wife" is a transformation of charity or agape or love of the good in itself to concupiscence or eros or matrimony. Richard McKeon is the editor of The Basic Works of Aristotle and coeditor of Peter Abailard, Sic et Non: A Critical Edition. He delivered an earlier version of this paper at the 1977 Modern Language Association's session of the Division on Philosophical Approaches to Literature. His previous contributions to Critical Inquiry are "Arts of Invention and Arts of Memory: Creation and Criticism" and "Canonic Books and Prohibited Books: Orthodoxy and Heresy in Religion and Culture". (shrink)

In 2020, Yiwen Wang published an article about gender-switching videos, a Chinese gender subculture in the digital media environment. Different from Wang, who identified gender-switching videos as an example of the slash subgenre, through a more comprehensive investigation of this subgenre this study found that gender-switching videos—which can be divided into two categories of complete and selective—involve homoerotic, heteroerotic and queer narratives. This article starts by demonstrating the multi-gender/sexual orientation narrative in gender-switching videos, and further analyses their social and cultural (...) functions as a gender subculture in reconstructing gendered relationships in traditional Chinese aesthetics and narratives. The theory of feminist utopian narratives is further introduced to better understand how Chinese women intervene in the grand historical narrative as an important force to influence the development of history and story plots via fiction content creation in the digital media environment. (shrink)

Will language as we know it cease to exist? What could this mean for the way we live our lives? Shining a light on the technology currently being developed to revolutionise communication, The Future of Language distinguishes myth from reality and superstition from scientifically-based prediction as it plots out the importance of language and raises questions about its future.From the rise of artificial intelligence and speaking robots, to brain implants and computer-facilitated telepathy, language and communications expert Philip Seargeant surveys the (...) development of new digital 'languages', such as emojis, animated gifs and memes, and investigates how conventions of spoken and written language are being modified by new trends in communication. From George Orwell's fictional predictions in Nineteen Eighty-Four to the very real warnings of climate activist Greta Thunberg, Seargeant explores language through time, traversing politics, religion, philosophy, literature, and of course technology, in the process. Tracing how previous eras have imagined the future of language, from the Bible to the works H. G. Wells, and from Star Wars to Star Trek, the book reveals how perfecting language and communication has always been a vital component of utopian dreams of the future. Questioning the potential ramifications of recent and future developments in communication on society and its ideals, The Future of Language is a no holds barred investigation into the state of civilisation and the impact that changes in language could have on our lives"--Publisher's description. (shrink)

Brumbaugh divides Western philosophic systems into four families: Platonist, Aristotelian, Democritean, and Anaxagorean. He plots these on a graph with the X-axis designating the method of the system and the Y-axis the direction. Method refers to the system's tendency to employ either dialectical thinking in emphasizing the whole or analysis in emphasizing the parts out of which the whole is constructed. He uses Richard McKeon's terms "holoscopic" for the former, and "meroscopic" for the latter. Direction refers to the system's emphasis (...) on form or matter. The four possible combinations are graphed by Brumbaugh. Both axes are needed, "for the forms of the formalists may be hierarchical and continuous, as Plato's are, or actual only for a discrete set, as are Aristotle's. And the 'matter' of the y direction can be either the hard, insulated particles of Democritus' atomic theory or the continuous flow of Heraclitean process". (shrink)

This paper scrutinizes the topic of meaning manifestation and signification made known by the act of interpretation, which amounts to finding the organising principles of a text and rules of combination. The language of narrativity is a set of generational and transformational instances disguising textual content and initiating interpretation as such. The paper discusses the levels of description which assist in tackling the concept of change, or difference in degrees, as the result of both the artificial operation of rewriting the (...) text on various methodological grounds and real dynamics justified by the obvious layers of the plot. The elementary units of meaning articulation covered by this article run the gamut from Roland Barthes’ distributional and integrational narrative units to Algirdas Julien Greimas’ deep and surface structures with special stress on the narrative programs and narrative analysis, which is of primary interest here. The Greimassian narrative grammar successfully describes what exists and how to capture the process of signification. In the end, analytical instruments elaborated by Greimas are effectively adapted to interpret the case of Edgar Allan Poe’s story William Wilson. The story itself is retold and interpreted through narrative formalisation, which consists in speaking of the plot transformations in terms of utterances of states and utterances of doing. Within the framework of narrative structures that emerge on the way to the formalisation of William Wilson, small changes in narrative trajectories seem to be out of sight, not even readable. Contrariwise, Barthes’ touch on what the text is all about enables the reader to be engaged in looser textual interpretations, to gain more variable, highly detailed experience in noticing the slightest movement and tasting each nuance of the overall setting. This paper first and foremost takes on board the structural narrative analysis as it is set out in Greimas’ narrative grammar leading to a special kind of severe narrative absolutism; on top of that, the paper gives a clue of a couple of alternative views on the problem, views represented by Barthes. (shrink)

Aristotle considered the plot the most important element in tragedy. By μῦθυς--from which our word "myth" comes--he meant an imitation of action--of action in the "real world," that is. Here, as elsewhere in Greek literary criticism, "imitation" does not mean simply "exact reproduction." To what extent it may mean something like "symbolic," or otherwise "oblique," representation, is hard to determine. It will be enough, for our purposes, to think of "imitation" as exact reproduction with allowance made simply for the (...) transference--always radically transforming--into another medium: from life into art. What, then, did Aristotle mean by "action"? The noun πρᾶξις takes us back to the verb πράττω. Action meant a "doing" to Aristotle, rather as poetry meant to him a "making." Such a "doing," then, is a time-crossing event, in fact an event whose nature is closely involved with its temporal status. Such an event has a personal agent, or vehicle, and transacts with other persons, or more generally, with the "other." In fact, the notion of a transaction is especially fitting to describe action, for that notion emphasizes the dialogue-like structure of action, which always involves its agent with "the world," whether of people or of things. Plot, for Aristotle, was the turning of such action into art. (shrink)

Based in narrative phenomenology, this article describes an example of how lived time, self and bodily engagement with the social world intertwine, and how our sense of self develops. We explore this through the life story of a woman who lost weight through surgery in the 1970 s and has fought against her own body, food and eating ever since. Our narrative analysis of interviews, reflective notes and email correspondence disentangled two storylines illuminating paradoxes within this long-term weight loss process.Thea’s (...) Medical Weight Narrative: From Severely Obese Child to Healthy Adultis her story in context of medicine and obesity treatment and expresses success and control.Thea’s Story: The Narrative of Fighting Weightis the experiential story, including concrete examples and quotes, highlighting bodily struggles and the inescapable ambiguity of being and having one’s body. The two storylines coexist and illuminate paradoxes within the weight loss surgery narrative, connected to meaningful life events and experiences, eating practices and relationships with important others. Surgery was experienced as lifesaving, yet the surgical transformation did not suffice, because it did not influence appetite or, desire for food in the long run. In the medical narrative of transforming the body by repair, a problematic relationship with food did not fit into the plot. (shrink)

Intersectionality is a travelling theory; now enjoying significant contemporary visibility and popularity in the feminist blogosphere, it has moved across disciplines and borders in ways that are quite distinct from the scholarly critique developed by Kimberlé Crenshaw some time ago. In this article, I consider how intersectionality is translated, and retheorised, as an intertwined set of everyday knowledges and associated governmental practices that both echo and diverge from some of the complexities and politics of its wide-ranging scholarly uptake. Drawing on (...) interviews with self-identifying feminists in a pilot project mapping contemporary Australian digital feminisms, this article explores two overarching patterns in intersectionality’s mobilisation. First, the shift to understanding intersectionality as an everyday conceptual grid plotting women’s differences along one axis, and measuring relative privilege and disadvantage on the other, recentring whiteness and liberal multicultural models of diversity and inclusion. Second, the transformation of intersectionality into an abstract, individualistic model of conduct, involving the citation and classification of ‘white feminist’ behaviour elsewhere, in frequent judgments on US celebrity culture. As such, intersectionality, while seemingly popular, often remained curiously ‘theoretical’ and divorced from embodied, everyday practices. I suggest in what follows that such a model of intersectionality raises questions of the commercial, racialised, political and mediated conditions that shape the theory’s visibility and materialisation. (shrink)

This book advances a reading of Wittgenstein’s Tractatus that moves beyond the main interpretative options of the New Wittgenstein debate. It covers Wittgenstein’s approach to language and logic, as well as other areas unduly neglected in the literature, such as his treatment of metaphysics, the natural sciences and value. Tejedor re-contextualises Wittgenstein’s thinking in these areas, plotting its evolution in his diaries, correspondence and pre- Tractatus texts, and developing a fuller picture of its intellectual background. This broadening of the angle (...) of view is central to the interpretative strategy of her book: only by looking at the Tractatus in this richer light can we address the fundamental questions posed by the New Wittgenstein debate – questions concerning the method of the Tractatus , its approach to nonsense and the continuity in Wittgenstein’s philosophy. Wittgenstein’s early work remains insightful, thought-inspiring and relevant to contemporary philosophy of language and science, metaphysics and ethics. Tejedor’s ground-breaking work ultimately conveys a surprisingly positive message concerning the power for ethical transformation that philosophy can have, when it is understood as an activity aimed at increasing conceptual clarification and awareness. (shrink)

The studies reported in the following articles are aimed at providing a comprehensive, detailed, and quantitative picture of cognition in human dreaming. Our main premises are that waking, REM sleep, and non-REM sleep represent physiologically distinct and identifiable brain states and that the differences between waking, REM, and NREM mentation reflect these physiological differences. We have studied dreams at a formal level of analysis and, in these papers, have studied the specific dream properties of emotions, bizarre transformations, scene shifts, and (...) plot coherence, in adults and 4- to 10-year-old children, as part of a larger effort to map state-dependent mental phenomena back onto the varying neurobiological processes that must underlie them. We believe that such efforts will enhance our understanding not only of dreaming and its neurophysiological substrates, but also of the cognitive processes that dreaming shares with other unusual mental states. (shrink)

The Norwegian high-school drama series Skam is produced and published by the Norwegian Broadcasting Corporation, a publicly funded institution distinguished by an explicit obligation to the public interest, not only serving their audience as consumers but even as citizens. Generally, the normativity expressed in Skam may be summarized by treating all with respect, involving not only moral considerations of what is right, but also ethical conceptions of what is good, offered, opened up and obstructed by the living social order established (...) there. In season three, given attention here, the plot revolves around issues concerning same-sex relationships, mental disorder and religion. Here Skam becomes interesting for the field of moral education, elaborating on how to encounter the challenges of pluralistic societies that undergo continuous changes and in which common values have become open questions. In this paper attention is drawn toward Skam’s ethical dimension, considering Skam as an instance of public moral education. Faced with tensions, hindrances and conflicts, the norm of treating all with respect, irrespective of how trivial it may appear outside of context, becomes loaded with meaning, while the actualization of the good life is at risk. Appalling is the way hegemonic religion is transformed in the living social order. Decisive is the active role taken by the youths in the series, recontextualizing the norm. The social order here is not a static, given condition, but a continuous, moving, cultivating project. In that respect, a certain democratic aspect of the public moral education of Skam also becomes visible. Together, the youths portrayed in the series seem to accommodate a variety of expressions of life emerging within their community. (shrink)

The paper proposes that the narrative functions of magical transformations and the characters’ articulated beliefs in the ways of spirits and ghosts in Alejo Carpentier's The Kingdom of this World and Ben Okri's The Famished Road represent polar extremes in magical realist writing. In the former text, spirits serve as the main measure of responsibility and responsiveness, enabling social actors to plot the ordinarily unimaginable. Spectral bodies transform marvelously in furtherance of the work of freedom and enchanting events proliferate (...) so that the spirit of independence set loose with physical struggles can flourish unhindered. The latter text blurs the borders of spirituality and literality; humans aspire to ghostliness and ghosts compete with humans. Nevertheless, human physical struggles for freedom long for a direction which the story's plentiful, flourishing spirits and ghosts seem unable to provide. The paper concludes that the different functions of spirits and ghosts in these novels reflect fundamental changes in the apprehension of historical progress in the postcolonial world since WWII. (shrink)

Trisomy 13 and 18 are rare chromosomal abnormalities associated with high morbidity and mortality. Improved survival rates and increased prevalence of aggressive medical intervention have resulted in families and physicians holding different perspectives regarding the appropriate management of children with T 13/18. Families were invited for open-ended interviews regarding their experiences with the medical care of a child with T 13/18 over the past 5 years. Seven of 33 invited families were surveyed; those who had spent more than 40 days (...) in the hospital were most likely to accept the invitation. Grounded theory technique was used to analyze the interviews. This method elicited four key themes regarding family perspectives on children with T 13/18: they are unique and significant, they transform the lives of others, their families can feel overwhelmed and powerless in the medical setting, their families are motivated to “carry the torch” and tell their story. Families also emphasized ways in which Internet support groups can provide both positive and negative perspectives. The ensuing discussion explores the difficulties of parents and physicians in forecasting the impact that T 13/18 will have on families and emphasizes a narrative approach to elicit a map of the things that matter to them. The paper concludes that while over-reliance on dire prognostic data can alienate families, examining the voice, character and plot of patient stories can be a powerful way for physicians to foster shared decision-making with families. (shrink)

RESUMO: Desde os primórdios dos espetáculos teatrais inteiramente musicados, estabelece-se a convenção tácita do final feliz. Desse modo, até mesmo episódios oriundos de escritores antigos, com conhecidos finais funestos, acabaram sendo transformados, acomodando a trama aos usos dos locais onde óperas eram apresentadas. Apesar de parecer uma solução fácil ou episódica, há algumas questões poéticas envolvidas, o que transparece sobretudo em alguns escritos sobre ópera, no século XVIII. A proposta deste artigo é discutir, em primeiro lugar, através de exemplos, como (...) o final feliz acontece em algumas óperas e qual a função que nelas desempenha; num segundo momento, a intenção é mostrar como a crítica italiana do final do século XVIII se mobiliza para dar conta da questão. ABSTRACT: Ever since the appearance of the first dramas entirely set to music, happy endings have emerged as a tacit convention. Even ancient myths with their sad endings were transformed, adapting plots to local customs where operas were performed. Although it may seem a facile or occasional solution, there are some important poetical questions involved which appear in certain writings on opera from the eighteenth century. The purpose of this article is to discuss, by means of examples, how the happy ending appears in some operas, and what function it has. The article also pretends to show how Italian critics of the late eighteenth century approached the question. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 105-112 [Access article in PDF] A Response to Reflections on Buddhist and Christian Religious Practices Ursula King University of Bristol I appreciate the opportunity to respond to these essays of personal reflections, comparing Buddhist religious practices with some Christian examples. The different essays are rich in detail, engaging and challenging; they explore new vistas but also point to larger horizons that remain to be explored. (...) Each contribution is so different; each can be read in multiple ways, and further questions can be asked about all of them. Although each contributor has chosen a specific focus, a particular way of interpreting Buddhist religious experience and practice, for me a common thread connects them all. The overarching question, implicitly present even when not explicitly formulated, seems to concern what religious and spiritual practices are really all about.What is the nature and content, and even more, what is the purpose of religious practice? Can very different practices be compared across different religious traditions? Is it legitimate to compare Buddhist and Christian religious practices, even when they occur in very different contexts and are undergirded by different histories and systems of thought? Is the purpose of all religious practice always spiritual growth and transformation, or is the ultimate goal (if there is such a goal) utterly different and distinct from all such strivings?There can be no doubt that both external and internal religious practices can be compared at some level, that certain common patterns, shared meanings, and significance, can be discerned in a wide variety of religions. It is these commonalities that phenomenological approaches to the study of religions have extensively explored and classified, but theological, philosophical, and spiritual comparisons are more difficult to delineate. Yet they do exist and have been investigated by many Eastern and Western thinkers. The religious practitioner, who may or may not be a scholar, more often than not remains unaware of the myriad of subtle scholarly distinctions that inhabit a long-trained rational mind. For such a practitioner the strength of spiritual commitment and the practical help in the business of daily living seems to count most when assessing the benefits or otherwise of religious practice. Somehow I find it impossible to capture the ultimate significance of religious practices, whether Buddhist [End Page 105] or Christian, within the limits of ordinary language. We always seem to deal with preliminaries, with passing realities rather than abiding truth and ultimate wisdom. Yet we all know of the paradox that there is no other way to the Ultimate than through the Ordinary. It is through the manifold religious practices, however routine and repetitive, that spiritual experience patiently plots its path and weaves its pattern in order to arrive at some eventual destination or be engraced by the gratuitous joy of sudden transformation.These essays by academic colleagues and friends appealed to my spiritual imagination, and some passages moved me deeply. Their Buddhist insights are enriching and thought-provoking, their references to numerous Christian parallels—whether perceived in meditation, prayer, confession, almsgiving, asceticism, vows, gestures, use of religious texts, or reference to the need for community—sometimes drew my attention to links not seen before, comparisons not encountered earlier. From a Christian perspective I also recognized that some comparisons are only made in passing, so that several comments on Christian religious practices are not as developed as one might expect from an insider's point of view.All religious traditions, not just Buddhism and Christianity, involve movement, process, and transformation. Each faith tradition, grown over so many centuries and practiced in different societies and cultures by so many different individuals, possesses an ocean of riches that none of us can receive fully. There are major directions and patterns, there are mainstream and marginal practices, but no one would be able to follow them all, nor even want to practice them all, and some may even need to be discarded as obsolete or spiritually unhelpful.There exists always an excess of spiritual and ritual resources, an abundance of means whereby to find spiritual advance and fulfillment, just as there... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 757 Ramzi Fawaz How to Make a Queer Scene, or Notes toward a Practice of Affective Curation Let me begin with two stories. In spring of 2013 I organized a semester -long, undergraduate film series at George Washington University titled “Acting Up: Queer Film and Video in the Time of AIDS.” At semester ’s end, after participants had (...) watched nine films about the AIDS epidemic —among them classic AIDS documentaries, activist videos, and mainstream Hollywood productions—I chose to conclude the series with the 1991 documentary Silverlake Life: The View from Here. Silverlake Life documents a year in the lives of Tom Joslin and Peter Friedman, a gay couple living in Los Angeles in the late 1980s who share an HIV diagnosis. At the time I made the selection, I did not realize that Silverlake Life documents one of the most devastating lived experiences of the AIDS epidemic ever filmed: during the course of taping, Tom, the initial documentarian, becomes gravely ill and dies on camera while lying in bed after a week-long convalescence. Reviewing this scene before our official screening, I found myself overwhelmed by intense feelings of anxiety. On the one hand, I felt a deep responsibility to expose my students to the aesthetic and political work of this daring documentary, and on the other, to protect them from witnessing forms of suffering that might traumatize them more than illuminate the social history of AIDS. When we convened to discuss the film, many students expressed how devastated they were by what they had seen. Rather than shutting down conversation, however, the depth and intensity of their viewing 758 Ramzi Fawaz experience galvanized an extraordinary conversation about the ethics of documenting the lives (and deaths) of people with AIDS. What they witnessed expanded the very possibilities of what they could feel about issues of collective concern such as the AIDS epidemic, while also transforming their ability to reconsider productive encounters with pain, suffering, and trauma. In my fear of negatively impacting students, I had forgotten both their capacity to respond with generosity and openness to traumatic images as well as my own careful curation of nine previous films and the attendant conversations held around them, which had laid a groundwork of shared affective openness to difficult content. One year later, as a newly minted assistant professor of English at the University of Wisconsin, Madison, I taught a large lecture course on American fantasy. In the fourth week of class, I screened The Wizard of Oz as part of a unit on the Hollywood musical, and I devoted a lecture to a gay and lesbian interpretation of this classic film. I highlighted the movie ’s camp aesthetics, its gender play and drag elements, and its derailing of traditional heterosexual romance plots. As a gay man well versed in queer media scholarship, I took it for granted that this was a pleasurable but patently obvious interpretation of a film that I assumed most people recognized for its exuberant and visually spectacular gayness. Yet as I spoke, I sensed a visceral tension build in the room. Half the students seemed mesmerized by the possibility of a queer aesthetic underlying the movie, while the other half frowned at me in silent fury, outraged by my daring to desecrate the presumed innocence of a childhood escape. The seething resentment of this latter group was confirmed for me when, weeks later, my teaching assistants disclosed that numerous students had expressed feelings of anger and frustration that my interpretation had “ruined” their pleasure in a beloved film of their youth. This circumstance prompted me to confront my students the following week: microphone in hand, I strolled the room and asked students to account for their feelings of discomfort. I wanted them to explain why their personal pleasure in The Wizard of Oz hinged on the diminishment of alternative viewing possibilities, including unexpected queer delights in transparently “straight” narratives. Students were clearly jolted out of their complacent belief that no one would hold them accountable for their perspective, or that their view might have political or ethical consequences: yet the resistance of some to being called... (shrink)

The subject of the study is the changes in the theatrical space and artistic features of the two early court masks during the transition from the Renaissance theater system to the Baroque. The object of the study were two early court spectacles of the Stuart period in the context of Baroque aesthetics – "Hymen" and "Mask of Queens", the authors of which were the playwright Ben Johnson and the artist Inigo Jones. Special attention is paid to the scenic design of (...) both masks and the transformations of the theater space, in which the main role is played by the stage device – the turning circle. Its use in spectacles not only allowed the artist to change the whole design and express one of the main themes of the performance through the transformations themselves, but also combined stage transformations with the plot action of the mask. The research material is presented by the surviving texts of Ben Johnson's mask plays, letters from courtiers and ambassadors who were direct witnesses of court spectacles, as well as published sketches of costumes and scenery by Inigo Jones. The methodology of the work includes a cultural-historical approach, a descriptive method, a method of comparative analysis, as well as a reconstruction of a theatrical performance that has not yet been carried out in relation to both masks. The novelty of the research lies in the fact that for the first time in Russian theater studies, an attempt has been made to consider the aesthetic features of Inigo Jones' theatrical and decorative art in the context of Baroque aesthetics based on the material of two court spectacles. The main conclusion is the identification in the two early Stuart masks of the features of Baroque art and the transition to the formation of the English Baroque theater with its scenic metamorphoses, striking the viewer dynamics, the coverage of the universal expanses on stage and the synthesis of all the arts. (shrink)

While Sylvia Wynter emphasizes the written word’s capacity to transform our systems of organizing knowledge, she repeatedly questions the extent to which novels can have this transformative capacity. Both her theoretical writing and the plot of her 1962 novel The Hills of Hebron emphasize the novel’s limitations. However, Wynter does not totally reject the form. Instead, she reimagines the novel through the idea of the “counter-novel,” developed in conjunction with her close reading of Ralph Ellison’s The Invisible Man. This (...) essay considers The Hills of Hebron as a counter-novel by analyzing the connections between novel’s two artist characters, The Hills of Hebron, and Wynter’s reading of The Invisible Man. Through this analysis, I argue that Wynter’s novel can be read as a substantial contribution to her theoretical corpus that has continued relevance to her challenge to transform dominant systems of knowledge production. (shrink)

This chapter explores the representation of the human body, with a particular focus on transgenesis and transgenderism, in Pedro Almodóvar’s La Ley del Deseo (Law of Desire) (1987) and La Piel que Habito (The Skin I Live In) (2011). Although released 24 years apart, both films represent the female body as a construct that mirrors the fluid reality of the postmodern era in which this body is found. Thus, as the physical space of our global habitat has become ever more (...) artificial, fragmented and unfixed so, too, the screened individual is a ‘floating and drifting self,’ a being that has become increasingly hard to define. Known for his unconventional themes and plots, Almodóvar here challenges traditional notions of what is male and female and the two concepts merge. The viewer explores a fluid corporeal and gendered territory as the once biologically male protagonists are subjected to either voluntary or forced sex change, leaving them physically transformed into a female although their thought patterns are still partly male. Gender and body are open to new interpretations as the filmmaker demonstrates how the human body (and skin), in a sexually permissive, socially and culturally less rigid era, can be surgically and bio-medically altered through a number of procedures, a process which by its end result at times reminds of a Deleuzian becoming. The screened individual is physically changeable, body and mind unfixed concepts, as one identity is left behind and another is adopted. Almodóvar’s man/woman/construct resembles what Zygmunt Bauman has called ‘denizens of’ a ‘postmodern habitat’ that ‘have a rootless and inconclusive existence.’ The argument is inserted into a Baumanian and Deleuzian framework and the fluidity of the human being is analysed from a partly postmodern perspective. (shrink)

Thomas Hobbes and John Locke sit together in the canon of political thought but are rarely treated in common historical accounts. This book narrates their intertwined careers during the Restoration period, when the two men found themselves in close proximity and entangled in many of the same political conflicts. Bringing new source material to bear, In the Shadow of Leviathan establishes the influence of Hobbesian thought over Locke, particularly in relation to the preeminent question of religious toleration. Excavating Hobbes's now (...) forgotten case for a prudent, politique toleration gifted by sovereign power, Jeffrey R. Collins argues that modern, liberal thinking about toleration was transformed by Locke's gradual emancipation from this Hobbesian mode of thought. This book investigates those landmark events - the civil war, Restoration, the popish plot, the Revolution of 1688 - which eventually forced Locke to confront the limits of politique toleration, and to devise an account of religious freedom as an inalienable right. (shrink)

We are implementing a new Rabinovich hyperchaotic structure with complex variables in this research. This modern system is a real, autonomous hyperchaotic, and 8-dimensional continuous structure. Some of the characteristics of this system, as well as for invariance, dissipation, balance, and stability, are technically analyzed. Some other properties are also studied numerically, such as Lyapunov exponents, Lyapunov dimension, bifurcation diagrams, and chaotic actions. Hamiltonian energy is being studied and applying by using the innovative method. Via active control method, we inhibit (...) our system’s hyperchaotic behavior. The new system’s hyperchaotic solutions are transformed into its unstable, trivial fixed point. The validity of the findings obtained is illustrated by an example of numerics and reenactment. Numerical results are plotted to display the variables of the state after and before the control to demonstrate that the control is being achieved. (shrink)

The article explores the semantic potential of social narratives associated with the creation and constitution of the Orthodox Church of Ukraine, which caused a interpretations conflict, marked by conflicting interpretations and differences in meanings that are applied in different contexts. The narrative arranges events in a certain time sequence, accumulates and translates meanings, individual and social experience. The presence of meanings in the interpretation of the narrative depends on the perspective, interpretation horizons and the subject's ability to analyze information and (...) its correct application. The social narrative accumulates a set of stories and messages that are fragmentary and disordered, constructs a coherent plot aimed at finding and defining meanings, and forming social discourse. Social narratives materialized in social structures, orientations, expectations, and stereotypes of their bearers due to everyday modification in the form of simple images, attitudes, and principles. Since each social narrative claims to be exclusive and correct in its own way of understanding events, a clash of narratives and their interpretations is inevitable. A large-scale event determines the modification of social structures, standards, and evaluation criteria, is accompanied by the transformation of everyday life, reveals deep mental layers, and opens up new perspectives. The extraordinary event that was marked by the creation of the Orthodox Church of Ukraine is accompanied by diametrically opposite assessments from the clergy, believers, politicians, experts – from the statement about autocephaly as the only opportunity to achieve unity and recognition of Ukrainian Orthodoxy to the political subtext justification of the new religious organization creation. Church circles represented by representatives of the Ukrainian Orthodox Church of the Moscow Patriarchate claim that the state interferes in the internal Affairs of the Church. The Constitution of the Orthodox Church of Ukraine takes place in the context of the confrontation of two social narratives – the «ukrainian world» and the «russian world». The social narrative «ukrainian world» is based on values rooted in the national soil, but the social narrative «russian world» denies the existence of the Ukrainian nation and the Ukrainian state. Under the patronage of the Russian Orthodox Church, the expression of the ideas of the «russian world» is the Ukrainian Orthodox Church of the Moscow Patriarchate, which enshrines in the minds of believers ideologies about «the common origin of the Ukrainian and Russian peoples», «the common baptismal font», «the unity of the historical space of Holy Rus», «the identity of the East Slavic Orthodox civilization». The Ukrainian Orthodox Church of the Moscow Patriarchate did not support the decision of patriarch Bartholomew to grant autocephaly to the Orthodox Church of Ukraine. Metropolitan Onufriy did not give his blessing to the hierarchs to participate in the Unification Council, which is called «a non-canonical assembly of schismatic groups». The Ukrainian Orthodox Church of the Moscow Patriarchate, according to its primate, has de facto autocephaly, so it is the only canonical local Orthodox Church in Ukraine. In the face of the conflict of public narratives, the Orthodox Church of Ukraine, along with meeting the spiritual needs of believers, contributes to the formation of national identity, the formation of a worldview matrix that will determine the vision of the future development of the country. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:94 Feminist Studies 45, no. 1. © 2019 by Hannah Baker Saltmarsh Hannah Baker Saltmarsh This Girl I Lost Touch With This girl, who was afraid to enter a room— a girl born in the woods, on moss, whose family dreamt under quilts, who wore dresses that matched anything fabric in the house, even the dresses without loneliness— I held her hand in the corridor-dark until the speaking-in-tongues at (...) the community college dispersed into prayers with too many gerunds and too much fervor that wouldn’t adjust if you got a thousand dollars in the mail or jury duty, faith subtle as a crucifix the size of God on the highway. I waited with her until it was over, although the prayer group was never really over. Over rooms of crowded, faith-based humidity, she loved corridors of woods, the rushes of running away. This girl and I, we were cult-lured, but then the leader stepped down—was it porn, alcohol? He drove us around in a red jeep without doors— the first time I drove in a man’s car, I was eighteen so I fell in love: looking straight ahead together, arm hair touching, the cathedral of autumn anticipating a shape to hold you, the wind that you sometimes hollered over. What happened I can’t see, but when he left the group, I left: the death of visions. Hannah Baker Saltmarsh 95 This girl could long for a man in her fingernails, and, without talking, take a man from his pregnant wife’s side, have his even newer children, this girl who wouldn’t go in a room all alone, walked right in, somewhere we’ve not been, and never left. Monostich in Praise of Four Missed Foul Shots in a Row, Ending with a Line by Shaquille O’Neal —Orlando Magic vs. Houston Rockets, Game 1, NBA Final, 1995 Each mistake at the foul line longs to be its own distinct trip-up, divorced from the tragic-comic failure automatic-reflex of a protagonist on a shame-rampage; each delicate flaw of glass, net, rim wants to be denied once at the charity line, once and only once of red-lipsticked points, the naive purity of one aberrant error in calculation—not bring bleacher-crowds to their feet, posterless hands in the vaulted air before tallying Nick Anderson up as Brick Anderson, most hated NBA player of all time, and by his own fans not believing their own eyes as a series of empty arcs toward scoring dovetails into quadruple humiliations and a goofy smile of gutted hopes and boyish fear-tangled awe that any brain so practiced (for this and what else?) could fail so many times in a row, each fail better and Beckett-harder until the last exit out of obliterating loss is part of the abyss too, unless you are quick on your feet for sports broadcasting... but there is no end to swindled championships if you are a man who’s never had to face the extinction of his early twenties or suck the aftertaste of multi-millionaire juice cocktails poured with a legend’s touch, but in the soapy-sweet glass of your Dixie cup liquor, however close to the sound of Shaq’s name spoken in every language, stares your same lovesick reflection in the welt of that shot-glass mirror, mouthing the bitters of paranoid distraction, unripe manhood, aged ingratitude, and a starless Orlando Magic blue diamond broomed over by nursery-rhyme witches brushing out the cobweb-haze because the crowd is always the same crowd calling you swept... each fumbling error of pressure you let get to you, if only it could be a plotless, lyric monostich without arc, not driven to the plot that is your grave, where the unfaithful, the murderers, liars, and cheaters are defined by threads, no, snapped pieces, of seconds and, as Dante would have it, sorted in hell by a singular thought or deed so 96 Hannah Baker Saltmarsh transformative as to name you; the blue and white jersey on the floor, fists and feet, knees and elbows vacuumed in tantrum, hyped up in the court glare and... (shrink)

Much of the fascination that Petronius' Satyricon holds for its readers originates in the work's gleeful violation of traditional categories of classical genres. Critical terminology makes explicit the issue of unconventionality, as it is reduced to the neutral word ‘work’ in describing the Satyricon, which, as far as we can tell, belongs to no single category , but appropriates elements from many sources in both poetry and prose. Perhaps if we had more evidence with which to compare the work, such (...) as a greater selection of Menippean satire or proto-novels from antiquity, we might be able to identify it more accurately. But the suspicion remains that the intense variety of its evocations, allusions, and parodic passages differentiates it clearly from its component genres without allowing it to settle firmly in any one established genre. A certain amount of ‘Kreuzung der Gattungen’ is, of course, typical of both Alexandrian and consequently Roman texts. But the Satyricon seems to revel in its generic instability; it plays with the notion of ‘literariness’ by revealing impulses from non-literary forms such as mime and subliterary prose fiction, raising this material to an unfamiliar level of literary sophistication even as it debases other traditional genres through parodic techniques. One of the results of this open experimentation with style and decorum is an extremely dense fabric of literary allusion which some would label ‘literary opportunism’. The reader quickly learns to expect intertextual pyrotechnics, swift changes from the sublime to the ridiculous, and humorous incongruities in plot and form, as the stylistic disorder of the text reflects the topsyturvy Petronian world. The modern reader's response to this profusion of referents is to explore the recognizable categories and sources embedded in the work, to tease out the familiar elements in the hope of gaining a better understanding of the whole. Since a great deal of the allusion in the Satyricon functions parodically, there is yet another step necessary in the interpretation, namely taking into account the effect of the decontextualization of language and events from the source material and their recombination and transformation into the new text. (shrink)

The object of the study is the technology of mythodesign. Today, it is actively used by the "electronic nomads" on their own social networks accounts, leading to the transformation of his worldview and perception of himself. The purpose of the study is to demonstrate the changes of a "nomad" who divert the reality because of the large amount of time spent on social networks. The research methods are analytical and phenomenological. As a result of the analysis of the problem, (...) it was revealed that in modern times mythodesign is becoming a popular technology, the development of which is not difficult. With the help of mythodesign, electronic nomads construct myths that create spaces for communication, and images in the form of photographs or small videos. Mythodesign includes two elements – a myth and an image. The myth highlights a fantasy element that allows you to convey the plot more vividly and draw attention to the "electronic nomad". The image in social networks is a construct with staged features, which allows hiding the real face of the "electronic nomad"; the "nomad", wanting popularity, erases his real image replacing it by an avatar. As a result, the external success hides the internal crisis of the "nomad". But, experiencing psychological discomfort, the "electronic nomad" is unable to critically approach the situation and even avoids such an action. As a result, the social pages of "electronic nomads" are virtual biographies, which only partially reflect the real life of a person. (shrink)

At the end of the 19th century, the vocabulary of sexuality - perversion - became one of the primary means by which people began to articulate and think about their individuality, their sense of self. Joining authors like Ian Hacking and Arnold Davidson, I suggest the importance of a ‘style of reasoning’ to the creation of sexual kinds at the end of the 19th century, a kind of reasoning that might be styled as historical. For the invert to become possible (...) as a human kind, the conceptual space for an understanding of inverts as specific kinds needed to be cleared. In France, this was accomplished by conceiving individuals as elaborated historically, as the product of prior generations, and by differentiating them from other kinds of people via notions of heredity and degeneration. The invert was plotted within the meta-récit of French progress (and national degeneration). This logic of ‘historicization’ also entailed the scrutiny of the patient’s past in order to reveal his or her ‘nature’ as pathological. Understanding the conceptualization of inversion as including, in part, a ‘pursuit of memory’ provides a window onto the vexing question of how people come to take up their classifications; that is, how discourses interact with the subjects they purport to describe. Through the ‘pursuit of memory’, persons were encouraged to (re)describe their pasts in terms of the present diagnosis. An essential attribute of the literature on ‘inversion’ was precisely such an historically formed understanding of pathological individuals; an understanding that ushered in the transformation from acts to natures, from individuals to kinds, from sodomites to homosexuals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.3 (2001) 415-428 [Access article in PDF] Brief Mention Tantalus Helene P. Foley John Barton's Tantalus bills itself repeatedly as "leftovers from the epic cycle." 1 Although his cycle of plays--nine in the stage performance and ten, with prologue and epilogue, in the published script--also remakes some late Euripidean plays, the spirit of the piece as a whole is far more reminiscent of what we (...) know of cyclic epic than tragedy or even the Iliad and Odyssey themselves, which, as Aristotle's Poetics points out, are plotted in a distinctively tragic manner with a single unifying action. Sir Peter Hall and Edward Hall's performance version, which premiered in fall 2000 at the Denver Center for the Performing Arts and then traveled to England, is conveniently divided into hour-long segments with intermissions and meal breaks that cater to the sensibilities and attention spans of viewers accustomed to televised series like Masterpiece Theater. Any attempt to recapture the tight plotting, intensity, complexity, and tension of tragedy would inevitably fail in a performance of this scale. Instead, the viewer is drawn into a long and varied narrative replete with surprising shifts in tone, ranging from ironic to lyrical, from painful to comic; episodes drawn from obscure mythological sources or, occasionally, invented, take center stage, while episodes familiar from Homer and tragedy are deliberately deleted. Viewers can follow characters and children of characters over the series of plays and see the traits of siblings and parents emerge with variation in close relatives--an effect enhanced onstage by the fact that these relatives are often played by the same actors. Like cyclic epic, Tantalus fills in the gaps left by Homer [End Page 427] in the Trojan saga and aspires to tantalize its viewers with the possibi415lity of multiple and unstable versions of mythic truth. In addition, although the play repeatedly evokes the image of the rock of Tantalus poised to crash with finality on everyone's head, it largely espouses a cyclic and inconclusive view of history, in which events and human errors relentlessly repeat themselves without acquiring accessible meaning. "Until the great rock falls / What has happened already / Will happen again: / That is god-law, Agamemnon, / As it's man-law on earth. / Epikou Kuklou leipsana" (362).Playwright Barton and the directors fell out during the rehearsal process; the Irish playwright Colin Teevan shortened, revised, and in some critical ways transformed and trivialized Barton's original script. The stage version retains Barton's concern with the futility of war and human action but radically revises the major point of the original. Barton's script above all engages its audience in the myth-making process and the elusive truth of stories: "Who is to Blame? What is the Truth? Could it be Otherwise?" His script opens with a group of twelve "girls" (Barton's term) sleeping on barren ground. Nine (in the performance, ten) of the girls become a chorus, and the remaining ones (the script says four, though the total of twelve demands three, so there may be an error in the script here) play various female parts throughout the cycle. The group has missed the (real or mythical) boat and begins to tell one another conflicting myths about the origin of the world. The chorus, which claims to know all the traditional Greek myths, wants to know which version is true. It debates whether to drink from the nearby oracular streams of Trophonius. (One stream makes one forget the present moment; the other makes one remember even things one does not consciously know.)A poet (and tutor to Dionysus) enters with a wine bag. The skeptical chorus, which at first prefers its own stories and one truth, is lured into testing out the poet's bag of masks and engaging with multiple conflicting stories. "If you want to know the future / You must go into the past" (511). The poet and the four women don new roles and reenact story fragments for the increasingly engaged chorus. The chorus women toss stones over their shoulders in imitation of the Greek creation... (shrink)

The economically successful model of industrial agriculture that is currently expanding throughout Argentina is leading to deep social, economic, environmental, and logistical changes that are seriously restricting the sustainability of the rural, urban and environmental systems. The transformation of activities, the arrival of new technologies, the arrival of organizations with large financial and technological capabilities, the displacement of hundreds of thousands of small-scale and medium-scale farmers and their reallocation to new productive functions are not only affecting the social sustainability (...) of the rural sector but are affecting the urban communal plots of villages and towns located on the Chacopampeana Plain. Now, the production of agrofuels as a response to international global demand will promote the ecological and social depletion that Argentina has been facing from the beginning of the 1990s. We argue in terms of ecological economics that externalities should be included in the costs of companies, not just economic costs. (shrink)

Money and gossip in nineteenth-century Russian fiction act as combined forces that disrupt the narrative and the relationships between the main characters. The motifs of money are prominent in the novels of both major and minor Russian writers and when seen side by side, the function of the motifs of money becomes clear as a genre marker. The two writers discussed in this paper are Fyodor Dostoevsky and Yevdokia Rostopchina. By placing their works side by side, it becomes evident that (...) their treatment of money represents a similar artistic response to the changing world of Russian social relations in the nineteenth century and the emergence of a new value system replacing that of the old estate culture. More than that, the treatment of money in combination with the prominence of gossip as a structuring device, which moves the plots in Rostopchina’s and Dostoevsky’s novels, reflects the development of the novel as a genre. Rostopchina’s seemingly compliant demeanor conceals a more intricate and subversive agenda. Through her strategic use of feminine masquerade, Rostopchina not only anticipated modern theories of gender as a social construct but also employed a timeless tactic of encoding subversive messages within seemingly conventional works. What is of particular interest in this paper is the incorporation of the society tale into the novel and how this reflects the transformation of value in the nineteenth-century Russian novel. (shrink)

The conceptual basis of Hellenic theology was theoretical reflection on the essence of myth, the philosophy of mythology. Several stages can be distinguished in the history of Hellenic theology. The subject of this article is the Hellenic theology of the epoch of the high classics (Vt. half of the V century BC). The cultural roots of the High Classics go back to the ancient Enlightenment, which formed the rational attitude of the ancient consciousness to the world. The main event of (...) the era of High Classics is the Peloponnesian War, which accelerated the crisis of the polis system, its way of life, and cultural ideals. The war led to the rupture of social ties, accelerated the individualization of the consciousness of the individual, forced to seek new social and spiritual supports. Serious shifts have taken place in the existential foundations of Hellenic religion, the understanding of man's dependence on the will of the Olympian gods and the measure of human influence on them has changed. If at the beginning of the epoch of the High Classics there was a semantic harmony of the relations between the human and the divine, then by the end of the epoch it was replaced by the confrontation and alienation of the sacred and profane. Ideas about the dependence of man on the world of the gods and the possible influence on the sacred have "blurred", have become extremely uncertain. This tendency manifested itself in various forms - in the strengthening of the influence of sophistry with its skepticism, the opposition of Chthonic and Olympic mythologies, the actualization of the motive of the birth of new gods (while the old ones do not die at all), stories about the deification of bright personalities, etc. Including in the theology of the Hellenic religion, concentrated expressed by the plots and images of the ancient drama (Sophocles, Euripides). The juxtaposition of the sacred and the profane made Hellenic religion meaningless, led it to self-denial. Under these conditions, Hellenic theology was faced with the need to transform the image of the sacred world. Firstly, by giving the otherworldly reality an abstract-conceptual transcendence. Secondly, through the ultimate generalization of mythological images of the gods, up to monotheism. These tasks were solved by the next epoch - the late classics. (shrink)

People's desire not to limit the meaning of Hancang driving force, continuous development and self-transcendence, which is people from within and beyond the root driving force. The so-called "inner beyond" is not a process of idealism, which began with the desire, from the bottom of the body, and go up on the layer by layer through the heart of the development process裡and mental flexibility, and would therefore have to enhance and transform. We regard the body as I desire the presence (...) of mode. Significance by the driving force in the body and thus close to the appearance, at first non-verbal, and then eventually completed in the language of representation. Through a variety of different non-linguistic representation, the meaning of the body of the driving force to obtain specific and differentiation, as music, art, dance, drama art form ... ... and so on. These different forms of art of common origins, is made ​​to understand the forms of physical exercise, as they are each other's differences, then is made ​​to understand the form of different, such as voice, image, attitude ... ... and so the nature and rules lawyers, and the rise because of their differences on the artistic and cultural expressions of different, and even the formation of the various arts precinct. In order to film art integrated voice, image and body movement, presented at the time of the current moving image, to the above description of the story. Different types of art is "the desire of the induced mover", which provides clear instructions and guidance In order to man the desire for meaning. The meaning of desire is the driving force of development of art in different fields to cross-border basic driving force. Story has entered into a description of the classification of the appearance of language, its basic features is metaphorical. Cross-disciplinary domain of the past will pin their hopes on the concepts and logical reasoning and arguments permit. Today, the language of metaphor for understanding the nature, making metaphor and narrative clues as cross-domain, and in the humanities, social sciences, natural sciences and even among. The reason why life events, actions and circumstances can be constructed to the story, because there I am with the interaction between multiple otherness, its impetus came from one continuous extrapolation, and extrapolation of each other. And diversity of his stories were always the people the story, and always coming to the multivariate description of those who hear him. Through stories, we witness In order to the meaning of life, but always to witness the way metaphor and description of each story to each other through mutual enrichment. Description of the future, after all, the story, no matter real or imagined, there is established based on the relationship regardless of which I was with him who have the freedom in the relationship, a relationship in freedom. It is also across the world who can not break the fundamental driving force and field-based. This paper assumes that there is an undetermined dynamic energy for meaningfulness in human desire, which develops and transcends any particular realization. This is the original energy by which human beings could attain transcendence by way of immanence, which is not an idealist process, but rather originated from a body-based desire that develops upwards and fuller to integrate the mental and the spiritual. Representability, first non-linguistic and then linguistic, is the access to meaning for our desire that takes body as its mode of existence. Through different forms of representation, such as sounds, pictures and gestures ... etc., the project of meaning is specified. The movement of body in intelligible forms is the common origin of music, dancing and performative arts. Cultural difference and artistic boundaries are based upon differences in the nature and rule of these intelligible forms. The art of filming, which synthesizes image, music and body movement in presenting images moving in time so as to tell stories of various kinds. All forms of art are "inducers of desire" by articulating, determining and guiding our desire for meaning. This dynamic development of our desire for meaning is the common basic energy by which we can cross the borders of different arts. Story-telling presupposes linguistic representation accessible to our meaning dynamism. In the past, concepts and logical reasoning and argumentation were taken to be the hope for interdisciplinary research. But now, with the better understanding we have of the metaphoric nature of language, metaphors and narratives are taken to be the clue for a cross-bordering effort in different sciences, human , social and natural. If there are events, actions and plots in human existence to be constructed as stories, it is because there is always interaction with multiple others, the dynamism of it consisting in our incessant act of strangification and mutual strangification. Stories are always stories about one self with multiple others and told to multiple others. By telling stories, we witness a particular way of meaningful life, always metaphorically interpreted. We achieve mutual enrichment by telling stories to each other. The ultimate foundation of cross-bordering in arts and scientific disciplines consists in the ontology of dynamic relation, in which there is relatedness in freedom and freedom in being related, and this is the ground on which all our life stories, both real and imaginative, are based. (shrink)

In Chinese films with intangible cultural heritage themes, female images are an indispensable presence. Particularly, several renowned female hero figures derived from folklore literature, such as Liu Sanjie, Ashima, and Hua Mulan, stand out as symbols of both traditional Chinese heroines and the cultural zeitgeist. This paper utilizes Roland Barthes' semiotic theory to analyze the characteristics of these three representative intangible cultural heritage-themed folk literature films. By employing text analysis methods, it examines the elements of costume, dialogue, setting, and (...) class='Hi'>plot in these films. These symbolic elements elucidate the development of female characters and cultural transformations, revealing how traditional culture is represented and transmitted in modern media. The paper also explores the crucial role and value of women in the preservation and inheritance of intangible cultural heritage, offering suggestions for better shaping the images of female heroes in intangible cultural heritage-themed films. (shrink)

This essay comprises an overview of the plot to Rorty's Philosophy and the Mirror of Nature, followed by a more detailed examination of the three parts of the book. It begins by showing the importance of metaphilosophy to Rorty's project, while explaining the significance of Philosophy and the Mirror of Nature for both Rorty's philosophy as a whole, and the history of philosophy. Then follows the overview, after which I explain the detail of Rorty's arguments, while developing a line (...) of argument to show that Rorty's final conclusion that there is no objective truth – because the world can be endlessly redescribed – undermines his argumentative strategy. Taking into account Rorty's standard response, according to which he was making a pragmatic social proposal, I conclude that Rorty's desire to avoid the nihilistic conclusion that life is meaningless, led him to transform existentialism into postmodernism; and that the result, however brilliant, is nevertheless unstable and badly motivated. (shrink)

In this paper, we engage in a philosophical investigation of how blockchain technologies such as cryptocurrencies can mediate our social world. Emerging blockchain-based decentralised applications have the potential to transform our financial system, our bureaucracies and models of governance. We construct an ontological framework of “narrative technologies” that allows us to show how these technologies, like texts, can configure our social reality. Drawing from the work of Ricoeur and responding to the works of Searle, in postphenomenology and STS, we show (...) how blockchain technologies bring about a process of emplotment: an organisation of characters and events. First, we show how blockchain technologies actively configure plots such as financial transactions by rendering them increasingly rigid. Secondly, we show how they configure abstractions from the world of action, by replacing human interactions with automated code. Third, we investigate the role of people’s interpretative distances towards blockchain technologies: discussing the importance of greater public involvement with their application in different realms of social life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dostoevsky and Schiller:National Renewal Through Aesthetic EducationSusan McReynoldsDostoevsky's novels pivot upon scenes of spiritual transformation, moments of revelation that resolve dilemmas for which no logical solution can be found. Raskolnikov, for example, analyzes his crime from philosophical and sociological angles until he almost dies; he is saved by his dream of the plague and by the image of Sonia's face. When insight and progress come to Dostoevsky's fictional (...) characters, they come as dream, memory, and rapture before images of beauty and suffering. The choice between spiritual and logical solutions confronting Dostoevsky's characters is also a choice between Russia and the West. The rationalism and corollary doctrine of egoism that drives characters like Svidrigailov, Stavrogin, and Ivan Karamazov to madness and death are clearly associated in Dostoevsky's novels with Western philosophy. The ability to surrender to the beneficial power of images is associated with characters like Dmitry Karamazov, who is able to accept the primacy of spiritual truth—the truth of his need for expiation—over the fact of his legal innocence of his father's murder. The breadth of spirit that renders Dmitry receptive to the truth revealed in his dream image of the suffering child is clearly identified in The Brothers Karamazov as a distinctively Russian national trait.The contrast between reason, death, and the West, on the one hand, and receptiveness to imagistic truth, salvation, and Russia, on the other, [End Page 353] drives the plots of Dostoevsky's novels. This familiar feature of Dostoevsky's art is first articulated in texts unfamiliar to most readers; the historical essays of the early 1860s that were among his first published works after his return from exile. In 1849, Dostoevsky was arrested as a member of the Petrashevsky Circle, an association dedicated to disseminating the tenets of Western socialism in Russia. For his participation in the Circle, Dostoevsky was initially condemned to death; the sentence was commuted to four years of hard labor in Siberian prison camp, to be followed by an indefinite period of military service in Siberian exile.When Dostoevsky returned to St. Petersburg and public life in 1860, he and his older brother Mikhail launched the journal Time. Mikhail served as editor. Dostoevsky would publish The Insulted and Injured and Notes from the House of the Dead in its pages, in addition to numerous essays dedicated to contemporary literature and events. The essays on Russia and Europe published in Time were a creative workshop in which some basic features of his later novels—most notably the contrast between Western positivism and Russian spirituality, conceived as the capacity to embrace imagistic revelations of the truth—were first developed. The pressure of Dostoevsky's developing artistic craft is clearly apparent in these non-fictional texts from the early 1860s, which narrate modern Russian and European history as a story structured by a dual plot of death and redemption.Before Dostoevsky wrote novels structured around the contrast between characters like Dmitry and Ivan Karamazov, he wrote essays structured around the contrast between Russia and Western nations like France and England. Before Crime and Punishment portrayed Raskolnikov's resurrection as the surrender to images offering glimpses of something that eludes rational analysis, Dostoevsky's essays in Time predicted national renewal for Russia through her embrace of the truths conveyed by the images of fine art. Some essays in Time compose a plot of national rebirth through the effects of artistic images for Russia, but others admonish readers with what Dostoevsky believed would be the terrible consequences of positivism for the West. Winter Notes on Summer Impressions, published in Time in 1863, casts France and England as mortally ill victims of a materialist worldview that can only grasp the challenges of modernity as scientific and political problems. The spiritual solutions that will be revealed to Russia through images of beauty, Dostoevsky warns, will elude nations ensnared in rational approaches to their problems. [End Page 354]Throughout his post-exile life, Dostoevsky believed that political improvement results from changes in the moral condition of individuals, inner changes that are catalyzed by images, not reached through rational deliberation. In 1861, he writes of the Imperial edict... (shrink)

Certain Greek texts depict Helen in a manner that connects her elusive body with the elusive maneuvers of the persuasive story. Her too-mobile body signals in these texts the obscurity of agency in the seduction scene and serves as a device for tracking the dynamics of desire. In so doing this body propels poetic narrative and gives structure to persuasive argumentation. Although the female figure in traditional texts is always the object of male representation, in this study I examine a (...) set of images of a female body whose representation ultimately seems to frustrate the narrative strategies for which its depiction was created. What emerges in the fifth century as a rhetorical technique begins in Book 3 of the Iliad as a narrative strategy that uses Helen's cloaked and disappearing body to catalyze plot, and develops in Sappho's fr. 16 into a logic of desire shaped by the movement of Helen's and other bodies in the visual field. Gorgias, in the Encomium of Helen, transforms these depictions of Helen into an argument that is structured by Helen's body, an argument that Helen herself employs in Euripides' Troades, where her own body serves as the anatomy of her argument. These texts all associate Helen's body with a type of persuasive narrative that repeatedly invokes the field of vision, describing physical presence in terms that aim at attracting the eye. At the same time this verbal portraiture disrupts the audience's perspective by depicting bodies as cloaked, mobile, and/or half seen, and by obscuring distinctions between desirer and desired, viewer and viewed. As both subject and object in this viewing process, Helen's body comes to be associated with the double vision of seduction and the distracting power of persuasive images, which seduce the mind's eye while eluding the mind's grasp. (shrink)

Heart rate variability (HRV) is an indicator of the regulation of the heart, see Task Force (Circulation 93(5):1043–1065, 1996). This study compares the regulation of the heart in two cases of healthy subjects within real life situations: Marathon runners and shift workers. After an update on the state of the art on HRV processing, we specify our probabilistic model: We choose modeling heartbeat series by locally stationary Gaussian process (Dahlhaus in Ann Stat 25, 1997). HRV is then processed by the (...) combination of two statistical methods: (1) Continuous wavelet transform for calculating the spectral density energy in the high frequency (HF) and low frequency (LF) bands and (2) Change point analysis to detect changes of heart regulation. Next, we plot the variations of the HF and LF energy in extreme conditions for both populations. This puts in light, that physical activities (rest, moderate sport, marathon race) can be ordered in a logical continuum. This allows to define a new index based on HF and LF energy that is log HF + log LF which appears relevant to measure HR regulation. The results obtained are pertinent but have to be completed by further studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Can Satan Cast Out Satan? Violence and the Birth of the Sacred in Christopher Nolan’s The Dark Knight1Nicholas Bott (bio)Last Summer, Christopher Nolan’s final installment of the Batman trilogy hit theaters. The Dark Knight Rises promised to be the epic conclusion of a hero’s journey, a journey of a man’s transformation into a legend. Little was revealed in the official trailers, except that evil was rising in (...) Gotham City, and so too must The Batman. But in this essay I’d like to suggest that we didn’t need to view The Dark Knight Rises before seeing either evil, or Batman rise; by the end of the second film, evil and Batman have already risen—and together—in the sacred form of The Dark Knight.This essay first elucidates how Bruce Wayne’s strategy to inspire good among the citizens of Gotham, first articulated in Batman Begins, encompasses the hallmarks of Girard’s mimetic theory, including: mimesis, rivalry, scandal, and, finally, the outworking of the mimetic mechanism of the surrogate victim—the scapegoat. Next, this essay takes a closer look at the goodness, or lack thereof, of Batman’s climactic self-sacrifice with its attendant resolution. Finally, this essay demonstrates that interpretations [End Page 239] of Batman’s self-sacrifice in the movie have mirrored the disparate interpretations of Christ’s self-sacrifice, in relation to the climax and resolution of the Passion accounts.Mimetic Structure in Bruce Wayne’s StrategyBeginning With the EndThe final visual the audience is given in The Dark Knight is of Batman escaping on his Batpod. The screenplay’s description of this final scene reads: “The batpod streaks through Gotham’s underground streets, the Batman’s cape fluttering behind. A wraith...”; (TDK, 140).2 Commissioner Gordon’s voice is overheard saying, “... He’s not our hero. He’s a silent guardian, a watchful protector, a dark knight” (TDK, 140). Bruce Wayne has sacrificed himself for the sake of Gotham. But what kind of sacrifice has he made?3 In the words of Alfred, “The sacrifice he’s making [is]—to not be a hero. To be something more” (TDK, 73). And Batman has become something more. No longer a hero, the language Commissioner Gordon uses to describe Batman on behalf of Gotham is mythical and sacred. Girard understands this sacralization to be the completion of the surrogate victim mechanism, the satanic process whereby the sacrifice of an innocent scapegoat reconciles a community in the midst of crisis and violent upheaval.4 This sacred vision of Batman represents the final stage of the surrogate victim mechanism, providing evidence that the satanic has been at work. But if this is the case, something has gone terribly awry in Bruce Wayne’s strategy to inspire good. With this conclusion in mind, the flaws in Wayne’s strategy as it develops throughout Batman Begins and The Dark Knight become apparent, and correspond with each step in the mimetic process.Mimesis as PlotMimesis, or imitation, stands at the heart of The Dark Knight’s plot because it stands at the heart of Bruce Wayne’s strategy to inspire good. We encounter this strategy in Nolan’s first film, Batman Begins, as Wayne explains to Alfred his reasons for returning to Gotham City:Alfred:Are you coming back to Gotham for long, sir? [End Page 240]Bruce:As long as it takes. I want to show the people their city doesn’t belong to the criminals and the corrupt.Alfred:In the depression, your father nearly bankrupted Wayne Enterprises combating poverty. He believed his example could inspire the wealthy of Gotham to save their city.Bruce:Did it?Alfred:In a way. Their murder shocked the wealthy and the powerful into action.Bruce:People need dramatic examples to shake them out of apathy. I can’t do that as Bruce Wayne. As a man... I’m flesh and blood, I can be ignored, destroyed. But as a symbol... As a symbol, I can be incorruptible. I can be everlasting.Alfred:What symbol?Bruce:Something elemental, something terrifying.(Batman Begins)5By invoking the symbolic, Bruce Wayne believes Batman will be... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 153-156 [Access article in PDF] JHI 2000 Donald R. Kelley It was just sixty years ago that this Journal first made its appearance. Two hundred thirty-nine issues later it continues in a world transformed by war, overpopulation, cultural shocks, scientific and technological transformations, globalization, the avalanche of information produced by electronic exchange, and "the acceleration of just about everything." Yet despite (...) these factors and the strains of postmodernism and cultural alterity, 1 it has not entirely lost touch with its intellectual innocence, faith in humanistic learning, and reliance on enlightened reason. This continuity itself may seem something of a novelty in an age of distrust of history and "rage against reason," but for some of us it reflects the critical spirit and intellectual context out of which such ostensibly subversive attitudes emerge, and reemerge. To some extent, moreover, the diversity of opinions about intellectual traditions is the result of specializations, and special interests, which have changed the climate of opinion since the time of Arthur O. Lovejoy, principal founder of the JHI. Lovejoy's vision was super- as well as inter-disciplinary; that is, he intended to include in the agenda of "history of ideas" particular areas of history of philosophy, literature, art, science, social science, etc., as well as the larger intellectual and cultural areas into which these disciplinary histories extend. 2 These days, however, all these disciplinary traditions have their own more specialized journals and do not need to seek a vehicle in publications of more general interest. What remains then, for the most part, is the interdisciplinary arena in which larger questions of human experience should be posed--and for Lovejoy, as for so many epigones and critics, the main "larger question" is not only one of value but also of specifically historical inquiry. 3 [End Page 153]The first issue of the JHI appeared under the editorship of Lovejoy (with Philip Wiener, who did most of the editorial work, as "managing editor"), assisted by a committee that included two historians, three philosophers, four literary scholars, and one political theorist; namely, Crane Brinton, Gilbert Chinard, Morris Cohen, Francis Coker, Richard McKeon, Perry Miller, Marjory Nicolson, J. H. Randall, J. Salwyn Schapiro, and Louis Wright. The first volume featured contributions from each of these, including Wiener, except for Miller (vol. 2), Shapiro (vol. 3), McKeon (vol. 8), and Coker. 4 During the first five years there were also reviews of books by Dilthey (by Horace L. Friess), Croce (Schapiro), Mannheim (Randall), Perry Miller (Herbert W. Schneider), Van Wyck Brooks (Miller) and Alfred Kazin (F. O. Matthiessen). In this period the disciplinary distribution of articles was not markedly different from that of the past five years, nor was the ranking of fields by number of submissions. 5 Most important, the original interdisciplinary thrust of Lovejoy's agenda, if not his attachment to the spiritualist currency of "unit-ideas," has survived growing specialization.At first the history of ideas was pursued largely in the shadow of the history of philosophy; for in this field, according to Lovejoy, "is to be found the common seed-plot, the locus of initial manifestation in writing, of the greater number of the more fundamental and pervasive ideas, and especially of the ruling preconceptions, which manifest themselves in other regions of intellectual history." 6 Lovejoy's concern was always with concepts, especially "-isms," and yet in some ways he anticipated the "linguistic turn" of the later years of this century, pointing out in particular "the role of semantic shifts, ambiguities, and confusions, in the history of thought and taste," for "nearly all of the great catchwords have been equivocal--or rather, multivocal." 7 If ideas could be given stable definitions, they were nonetheless often, in the context of language, in conflict, even in the mind of a single thinker; for such was the "anomaly of knowledge." 8 So Lovejoy was at pains to distinguish the various meanings of [End Page 154] catch-words like "nature," "perfectibility," "romanticism," "progress," and "pragmatism," not to mention more inflammatory terms of wartime ideological debate.But... (shrink)

Neopoetics is a matrix for dynamic perceptual convergences between material and immaterial systems. The deep foundational ground for Neopoetics is the Poetics of Aristotle and its relation to the ancient Greek theatre as a practical systemic ideology for the mythic Greek drama. As Aristotle’s Poetics posits six basic components for the construction of drama (plot, character, thought, diction, song and spectacle) the neopoetic system has six constituent aspects: expanded embodiment, experiential metaphor, matrix architecture, perceptual resonance, the rheomode and neopoetic (...) mythos. Expanded embodiment describes an expansion of the corporeal body into fluid, dematerialized dimensions of experience, expression and exchange. Experiential metaphor is a sensate interface between the expanded body and the dematerialized field that contextualizes it in a neopoetic framework. It is what Roy Ascott terms an interspace: ‘found between the virtual and actual, where reality is renegotiated and the new consciousness is embodied’. The next three neopoetic aspects describe the language structures through which a new mythos is articulated. Matrix architecture is a framework for activation and alignment of the senses. It is a multisensory perceptual membrane that ignites the prism of the expanded body’s sensorium within the fluid interface of experiential metaphor. Matrix architecture articulates both a new sensorium and its interface with an integrated material/immaterial perceptual field. Perceptual resonance is the cathartic awakening of ‘the space between the senses’, evoked by the alignment of perceptual dimensions through matrix architecture. From this prismatic aperture emerges the mythic, transformative rheomode – the experiential language of the quantum wave. The rheomode is an expression of language. The term was coined by the quantum physicist David Bohm as an experiment in pursuit of a linguistic dimension of the wave. Yet in a neopoetic context, the rheomode becomes an evolutionary system. As Roy Ascott states,Language is not merely a device for communicating ideas about the world but rather a tool for bringing the world into existence. Art is a form of world building, of mind construction, of self-creation, whether through digital programming, genetic code, articulation of the body, imaging, simulation, or visual construction. Art is the search for new language, new metaphors, new ways of constructing reality, and for the means of redefining ourselves.Neopoetics mythos unfurls through the rheomode. It is an expression of an emerging ecology, an experiential awakening of the wave within the particle. Neopoetic myths are fluid evolutionary pulsations. They are transformation in the liquid convergences between material and immaterial dimensions. They are streams of lava birthing bedrock for an emerging paradigm. (shrink)

A common object found within medical museums is the developmental series: an arrangement of embryos depicting the transformation of an unremarkable blob into an anatomically organized and recognizable organism. The developmental series depicts a normative process, one where bodies emerge in reliable sequential stages to reveal anatomically perfect beings. Yet a century before the developmental series would become a visual model of embryological development, the very process of development itself was discerned through the comparative study of preserved human fetuses—specifically, (...) those deemed “monstrous” or characterized as “malformations.” This article examines how anatomically diverse fetal bodies were reformulated from singular curiosities into alternative developmental pathways whose characteristics testified to the laws of nature and to the primordial, physical relationship between humans and other species. In early nineteenth century Amsterdam, the father-son team of physicians Gerard and Willem Vrolik built up an internationally renowned anatomical museum famous especially for Willem’s collection of fetal malformations. Physical preparations of fetal malformations play a central role in Willem’s monumental handbook on developmental embryology: comparing human embryos against one another and the embryos of other species, Willem plots out a sequence of embryological development in which a body’s form marks its place within the ever-unfolding natural order. In conversation with the literature on model organisms, this article explores how the “monstrous” gets standardized and, in doing so, contributes to the scientific production of a normative physiological process. (shrink)

ABSTRACT The purpose of this study was to develop an understanding of the historical retrospective of the concept of myth and the process of semantic transformation of this term in historical retrospect, as well as to study the features of the combination of different mythological and neo-mythological layers in modern literature. The article investigated myth and mythological discourse in literary studies, formed the basic definitions of myth at different historical stages of social development, studied the foundations of neo-myth and (...) its artistic realization in the literary plane. On the basis of modern Kazakh prose, the plot, composition, motif, and imagery schemes built on the use of mythological and neo-mythological discourses were considered. Emphasis was placed on possible mythological sources and the question of what myth can give to literature was discussed. (shrink)