Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maximus Poems, Shaw and other critics have taken as exemplary of this trend Allen Ginsberg’s 1966 antiwar poem “Wichita Vortex Sutra,” which superimposes the horrors of the Vietnam War onto the placid landscape of rural Kansas. Yet the focus on this spatial collapse elides the centrality of temporal simultaneity to the marshalling of affect in “Wichita Vortex Sutra”—which is to say, the poem is affectively effective not only because it writes the violence of Vietnam into a bucolic Midwestern geography, but because Ginsberg so forcefully insists on the simultaneity of these irreconcilable sights and sites. By paying special attention to the interdependence of the spatial and the temporal in Ginsberg’s poem, my presentation will help to give a fuller account of the uses of presence as a mode of political critique in the late 1960s, while re-inscribing “the present” within this politicization of presence. This effort to refocus on the intertwining of temporality and spatiality in Ginsberg’s poetry is part of a larger project that reads this politicized use of presence into texts that are less explicitly marked as political but that nonetheless cultivate a similar relationship to site and simultaneity.
This paper studies the creation, circulation, and reception of two groups of photographs of Ludwig Mies van der Rohe’s iconic Farnsworth House, both taken by Hedrich Blessing. The first set, produced for a 1951 Architectural Forum magazine cover story, features curtains carefully arranged according to the architect’s preferences; the Museum of Modern Art commissioned the second set in 1985 for a major Mies retrospective exhibition specifically because the show’s influential curator, Arthur Drexler, believed the curtains obscured Mies’s so-called “glass box” design. Through comparative object-based analysis and in-depth exploration of the images’ discursive context, “Curtained Walls” finds both groups of photographs to be quasi-fictional portraits that are valuable today for how they engaged various modernist concerns rather than as reliable architectural representations. Ultimately, this paper complicates the history of a building famous for being minimal—and questions whether these photographs helped direct critical opinion of the Farnsworth House toward a transparency-focused narrative and away from other potential interpretations.
Early works of dramatic criticism seeking to draw parallels between ritual and drama in Africa concentrated on examining the dramatic characteristics of ritual to see how drama evolved from ritual. However, a closer application of the theories of Girard, Schechner, Smith, Hubert Mauss and Turner reveal new perspectives on the interaction between the related phenomena of drama and ritual. Precisely, in the works of Femi Osofisan, the drama of the revolution seeking social change meets with the mimetic in ritual which is seeking to re-establish cosmic order. The researcher in this paper sets out to investigate Femi Osofisan’s blend of ritual and myth with revolutionary aesthetics and themes in two plays, Once Upon Four Robbers and Esu and the vagabond Minstrels. In the work, it is revealed that the playwright shows the materialistic push for wealth as a rough, immoral fight that forbids altruism and leads to desperation in seeking wealth. It comes to the fore that wealth when pursued this way remains elusive. He then seeks for a change in the socio-economic arrangement that makes people to unleash their efforts in a mindless, self-centered pursuit of material gain to the detriment of all. The way Femi Osofisan addresses this contemporary theme with a blend of Marxian aesthetics with myth and ritual is the focus of this paper.
Michael Endes collection of narratives ‘Der Spiegel im Spiegel. Ein Labyrinth’ can be classified within the tradition of fantastic literature and shows a significant reference fantastic painting especially to the works of his father, Edgar Ende. Inspired by his fathers paintings, Michael Ende created a collection of narratives consisting of thirty texts, in which every narrative itself has a relatively comprehensive plot and at the same time always is – through certain elements – appearing in diverse contexts connected with the other texts. The locations of the plot are frequently characterized by a surreal decor, however, through modern elements like machine guns, refer to the everyday world of 20th century recipients. A recurring theme is the question of the protagonists identity, which on the one hand, through invasions of their formerly controlled environment, are forced to think about the stability of the reality surrounding them and on the other hand, to deal with their own Selves and how they are endangered by their owners not paying enough attention to them and through the neglect of others. One of the main characteristics of the always-popular fantastic literature – which although literary criticism, however, has difficulties to adequately define – lies in the subversive play with the seemingly fixed reality of its protagonists.
The professor character is no stranger to readers of contemporary African American literature. Indeed, the variety and ubiquity of a professorial character across a range of post soul fictional novels is not simply a curiosity to comment on, but phenomena available for critical interrogation. This analysis explores the location of Deck Lee’s character in Danzy Senna’s novel Caucasia. The term ‘location,’ refers to the physical locations where Deck Lee appears in the plot, what Deck does in those spaces and whom he does things with. The central argument of this analysis is that Senna’s character of Deck Lee is emblematic of the complicated ways that professors appear in post soul literary representation, and thus work against tropes of the narrowly-articulated absent-minded or exclusively-scholarly professor in popular culture. Moreover, this analysis of Deck Lee points to an approach to study professorial characters that are ubiquitous in post soul literature, one that could theoretically inform debates about how the complexities of African American life correspond to contemporary literary characters.
In pedagogic research, it is common for the articulation between philosophy and education to happen from broad conceptual assumptions, which is usually called ideal of education. In this sense, other areas should be given the responsibility of investigating subjects related to school education, such as curriculum or evaluation. This Thesis aims at putting into question that assumption, dealing with the idea of a philosophy arising from school, a connected philosophy. For this, the communitarian philosophy of Michael Walzer is used as a theoretical support. Communitarianism, as a political philosophy, opposes to philosophical liberalism, as it sets that good life should be put into perspective in every specific context, and from one’s everyday practice. However, communitarian philosophy does not have a unified doctrinal body, for attaining the aims of this text (an articulation between the school and philosophy) Walzer’s work was used along with his several concepts to support the idea of a good school based on democratic citizenship, participation and protagonism of children and teenagers. Walzer’s communitarianism is advocated as having as its paradigm the concept of practical philosophy, and in this sense all other subjects explored by the author, such as pluralism, civil society, tolerance, distributive justice, community, social criticism and morality, are all based on the ideal of a reality-focused philosophy. That basic perception is therefore adopted for the formulation of twenty propositions that consolidate an idea of communitarianism as focused on education or – more appropriately – as focused on the school, aiming at offering alternatives to an ever-growing scenario of community detachment (specially urban).
Abstract: One of M.M. Bakhtin’s contributions to the study of texts was his profound distrust of formalism. In this essay, I seek to extend this insight to the study of biblical genres. As such, I work to detach the study of biblical genres from form-criticism, and to examine genre as dialogically constructed (and thus socially situated). To do so, I draw on Bakhtin’s work on dialogism, the chronotope, and heteroglossia. However, in his work Bakhtin did not clearly provide the motive or impulse for dialogism. I seek to enhance and refine a dialogic understanding of genre by reconceptualising genre as a site of politics constructed by the operation of power and eros. In this essay, I explore power from a Foucauldian perspective, seeing it as a network of discourse relations that enfolds the struggle for domination. The dynamics of power, once understood, help to understand the development of distinct genres and development within genres. In this essay, I explore eros from the perspective of productive act (Deleuze), as well as from the perspective of desire for the lacked object (Hegel, Lacan, Foucault), both understandings being ultimately Platonic in origin. Without understanding the erotic impulse, I argue that we cannot understand the dynamics of power that explain dialogically-constructed genre. In this way, this essay takes Bakhtin as a starting point and touchstone, but moves into some different areas as well.
Mobilizing the Past is a collection of 20 articles that explore the use and impact of mobile digital technology in archaeological field practice. The detailed case studies present in this volume range from drones in the Andes to iPads at Pompeii, digital workflows in the American Southwest, and examples of how bespoke, DIY, and commercial software provide solutions and craft novel challenges for field archaeologists. The range of projects and contexts ensures that Mobilizing the Past for a Digital Future is far more than a state-of-the-field manual or technical handbook. Instead, the contributors embrace the growing spirit of critique present in digital archaeology. This critical edge, backed by real projects, systems, and experiences, gives the book lasting value as both a glimpse into present practices as well as the anxieties and enthusiasm associated with the most recent generation of mobile digital tools. This book emerged from a workshop funded by the National Endowment for the Humanities held in 2015 at Wentworth Institute of Technology in Boston. The workshop brought together over 20 leading practitioners of digital archaeology in the U.S. for a weekend of conversation. The papers in this volume reflect the discussions at this workshop with significant additional content. Starting with an expansive introduction and concluding with a series of reflective papers, this volume illustrates how tablets, connectivity, sophisticated software, and powerful computers have transformed field practices and offer potential for a radically transformed discipline.
Though the deep and abiding concern with honor that Arveragus and Aurelius evince in the Franklin’sTale have been explored in detail, Doreen’s own preoccupation with honor—no less significant in the tale’s exposition of trouthe—has not received much critical attention. Indeed, the question of Dorigen’s honor is often preempted by analysis of the (masculine) chivalric code of honor, which subsumes female honor within it. Yet an analysis of Dorigen’s promise to Aurelius and of her despairing complaint will reveal that she, too, participates in the same concept of trouthe that binds her male counterparts, one that privileges troth not simply as honor but specifically as public reputation—the esteem others accord a person. While bodily fidelity to her husband is important, indeed crucial to Dorigen, we should not overlook the concern she evinces for verbal fidelity as well, for her dilemma (false though it may be) is predicated on that concern. Ultimately, it is the reputation for such fidelity that matters most—far more so than adherence to any truly moral or ethical code of behavior. It is this reduction of trouthe to repute that leads to the central dilemma in the tale, and leaves readers uneasy with its resolution.
This article critically interrogates key assumptions in popular web discourse by revisiting an early example of web ‘participation.’ Against the claim that Web 2.0 technologies ushered in a new paradigm of participatory media, I turn to the history of HotWired, Wired magazine’s ambitious web-only publication launched in 1994. The case shows how debates about the value of amateur participation vis-à-vis editorial control have long been fundamental to the imagination of the web’s difference from existing media. It also demonstrates how participation may be conceptualized and designed in ways that extend (rather than oppose) ‘old media’ values like branding and a distinctive editorial voice. In this way, HotWired’s history challenges the technology-centric change narrative underlying Web 2.0 in two ways: first, by revealing historical continuity in place of rupture, and, second, showing that ‘participation’ is not a uniform effect of technology, but rather something constructed within specific social, cultural and economic contexts.